In this reimagining of Salvador Dalí’s Leda Atomica, the divine encounter between Leda and the swan has been interrupted, if not hijacked, by the encroachment of digital modernity. The classical nude figure, once passive and mythologized, now bears a vintage computer monitor in place of her head… a symbol not just of dehumanization, but of transformation. She has become oracle, interface, command line. She is no longer the muse but the programmer.

Set against an explosion of illusion paper that radiates like a psychedelic mandala, the figure hovers on a floating plinth littered with books, memory, and code. The swan (still mid-flight, still ominous) now appears as both companion and intruder, an unresolved echo of patriarchal mythos. Triangular glyphs float on the water’s surface like broken fragments of sacred geometry, teasing the viewer with their near-decipherability.

In Honey’s hands, this piece becomes an act of surrealist theater… equal parts absurdity, indictment, and elevation. She reframes Dalí’s atomic mysticism through her own lens of digital disobedience and feminine agency, asking: What becomes of myth when the gods are machines? What happens when the woman writes her own source code?