It was also in New York that Thompson quickly arrived at his mature style, taking Dody Müller's advice to heart by reworking the compositions of European Masters such as Piero della Francesca, Nicolas Poussin, and Jacopo Tintoretto into simplified, abstracted forms
painted in threatening and seductive tones that were hot and violent or deep and dark — seizing on the dynamism of these
classical scenes and often
transforming them into contemporary allegorical nightmares.
In a way, I depersonalized them; they feel less as a diary and are more an armature for a
painting» (Mark Grotjahn, quoted in Marta Gnyp, «Mark Grotjahn», Zoo Magazine, no. 38, January 2001, online) Grotjahn began casting the masks in bronze in 2010, subsequently
transforming the ephemeral musings into objects of
classical permanence.