In past paintings I have tried to show the relevance and use of fractals in classical art and even explain the dionysian mess of Pollack by presenting a deeper look into the art, expanding even my own views. The loose abstractions of Bacon could easily be seen as flowing and disturbing, but I am certain not many have realized the fractal content in Bacon's work. I believe this "hidden" element of the Bacon paintings is a large part of their popularity and success and a key ingredient to these paintings becoming among the highest sought after and expensive art in existence. 

TO expand on and reveal this phenomena, I have 3D mapped a fractal to the head of a model and displaced the imagery to a large degree....resulting in what I feel is not only a portrait that better describes Francis Bacon than his own works, but reveals the math and secret geometry that drives his popularity. Both somber and beautiful I present my Fractal Portrait of Francis Bacon as a revelation of truth and celebration of the intermingling of fluidity and fractals that defines the world and our selves.

From Wikipedia

Francis Bacon (28 October 1909 – 28 April 1992) was an Irish-born British figurative painter known for his emotionally charged raw imagery and fixation on personal motifs. Best known for his depictions of popes, crucifixions and portraits of close friends, his abstracted figures are typically isolated in geometrical cages which give them vague 3D depth, set against flat, nondescript backgrounds. Bacon said that he saw images "in series", and his work, which numbers c. 590 , typically focuses on a single subject for sustained periods, often in triptych or diptych formats. His output can be broadly described as sequences or variations on single motifs; 

Bacon took up painting in his twenties, having drifted in the late 1920s and early 1930s as an interior decorator, bon vivant and gambler.[3] He said that his artistic career was delayed because he spent too long looking for subject matter that could sustain his interest. His breakthrough came with the 1944 triptych Three Studies for Figures at the Base of a Crucifixion, which sealed his reputation as a uniquely bleak chronicler of the human condition.

Despite his existentialist and often bleak outlook, Bacon in person was charismatic, articulate, and well-read. A bon vivant, he spent his middle age eating, drinking and gambling in London's Soho with like-minded friends including Lucian Freud (though the two fell out in the mid-1970s, for reasons neither ever explained), John Deakin, Muriel Belcher, Henrietta Moraes, Daniel Farson, Tom Baker, and Jeffrey Bernard. 

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