Hancock’s subliminal self-portraits rearticulate and deconstruct forms and figures from his idiosyncratic personal iconography. These paintings expand on metaphysical interpretations of the artist’s dreams, the invented symbolic language that has long been a hallmark of his work, and the idea of self-portraiture as exploration of the artist-as-archetype. The artist’s body becomes a testing ground, subjecting the self to the externalized effects of interior tensions—in the form of a face vivisected by crosses or a quatrefoil skin that draws upon a memory of the artist’s grandmother’s tile floor, for example.