Constantin’s dominant visual syntax is of pen markers used in repetitive marks referencing
the surface tonalities of the Impressionists in a childlike way to articulate his
unconsciousness. He compiles an idiosyncratic semantics of colour through the repetition of
application within contexts conflating with the contextual colour syntaxes of van Gogh.
Constantin draws his subject matter and worlds from academic achievements in human
anatomy, a stream of consciousness, the Id, imagination and historical research into
eugenics. His approach to painting is derived from narrative in conjunction to a constant
departure from conventional reality in order to actualize a dream-state to the viewer where
the artist can investigate challenging questions: Is man condemned to be bad? How did
Christianity oppress women? What is the context of God for today?
Constantin positions himself as a believer of God as good energy and evil as the bad
energy. His spiritual grounding is what motivates him to tackle epic power structural
narratives in Christianity to assimilate challenging questions. His focus in this theological
matter is to investigate the presentation of equality, doctrines, murders, oppression,
Christian influence into politics, the female role in history and how the discourse of history
has shaped the contemporary western world.