Tarini’s process begins with a search for the precise cinematic counterpart to a historical painting, focusing on how a photograph might inhabit a painted space. By layering Joan Crawford’s features over Kahlo’s "Self Portrait with Thorn Necklace and Hummingbird," he employs a distinctive masking technique that creates alternating stripes of film and canvas. This method avoids a simple swap, instead producing a hybrid face that echoes the fractured perspectives of a Picasso portrait.

The work thrives on the friction between the two subjects, where the raw symbolism of Kahlo’s motifs meets the polished drama of Hollywood’s golden age. Through careful layer manipulation and minimal editing, Tarini highlights a shared defiance in both women's gazes. The stripes act as a visual bridge, allowing the viewer to see the texture of the brushstrokes and the grain of the film simultaneously, questioning where one icon ends and the other begins.