In the artist’s own words, the project has been conceived as a visual journey through the history of equestrian portraiture, from ancient Greece to the present day. To this end, I have set out to create modified versions of some of the most representative works of art in this genre, although with one substantial change in each of them: the elimination of the rider. These versions are very similar in both technique and scale to the originals, except for the fact that in all of them the main character, the subject of the portrait, is missing. With this project, I aim to reflect on issues related to the representation of power and its codes, something that is recurrent in my work and which we could say functions as the backbone of the different series I have been working on in recent years. This obsession with the narrative of power has resulted in a body of work that repeatedly explores the relationship between art and propaganda. Sometimes focusing on the analysis of the function of the public monument, other times confronting different ways of representing power and authority, and still others highlighting subtleties and contradictions in the representation of this power.