In his latest body of work, “(In)Appropriate”, Luke Cornish (E.L.K.) has re-contextualized some of the most significant art historical paintings of the past five hundred years. Jacques Louis David’s “Napoleon Crossing the Alps” has been, in the hands of the stencil artist, transformed into "Napoleon (Dynamite) Crossing the Alps.” "Judith beheading Holofernes” is now “Rose (McGowan) beheading Harvey (Weinstein)”. Certainly, there are political commentaries and social criticisms within these images. Cornish, however, maintains a distance from these critiques, imbuing the paintings with a jovial nature that is sometimes at odds with the seriousness of the subject matter. Moreover, the diversity of themes being criticized (Cornish tackles everything from feminism, to drone strikes, to the rights of refugees) works to dilute the seriousness of the condemnation. He is certainly not dispassionate about the subject matter, however, one is certainly given the impression that Cornish has re-contextualized these historical paintings almost willy nilly. At its core, “(In)Appropriate” reaffirms the right of the individual generally, and the artist specifically, to vandalize the inviolable, to treat nothing as sacred. This is conveyed in form as well as content. Beautiful oils have been exchanged for stenciled layers of aerosol. Blasphemous imagery has been presented in the traditional framing typical of a National Art Gallery. Artistic styles have been effortlessly and almost scornfully mimicked. On all levels, Cornish mocks and subverts, undermines and destabilizes. This sentiment is personified in the triumphant, yet absurd, figure of Napoleon (Dynamite) calmly poised to cross the metaphorical mountains of political correctness. Cornish, it seems, has weaponized the absurd expression of his subject (a surrogate for himself, perhaps), as it allows him to tackle the themes which even his horse is terrified of. The show amounts to an exercise in the kind of subversion that ultimately has its roots in Street Art.