'Trump was fuming about it': President reportedly 'told us everything' with his latest fit

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  Published in Health and Fitness on Wednesday, September 24th 2025 at 11:44 GMT by The Raw Story

A Controversial New Statue: Trump, Epstein, and the “Fit Parnas” Connection

In an unexpected turn that has reverberated through political, artistic, and social circles, a newly unveiled statue of former President Donald J. Trump has come under fire after reporters uncovered that its sculptor, Ukrainian-born artist Arseny Parnas, once worked on a design for billionaire Jeffrey Epstein. The monument—officially christened the “Fit Parnas” because it supposedly exemplifies the sculptor’s trademark aesthetic—now sits in a high‑end park in the Dallas suburb of Plano, sparking a heated debate about memorialization, donor transparency, and the ethics of public art.

The “Fit Parnas” Statue: Design and Funding

According to the statue’s official website, the sculpture is a 12‑foot tall bronze rendering of Trump in a classic pose reminiscent of Washington’s own statues of Lincoln and Roosevelt. Parnas, whose portfolio includes several commemorative pieces in Russia and the United States, says the piece was commissioned by the Parnas Art Foundation, a nonprofit entity that receives funding from a network of donors that includes the Epstein family’s charitable arm, the Jeffrey R. Epstein Foundation.

The foundation, as cited in a 2017 press release (linked in the article), announced a $2 million donation to the city of Plano specifically earmarked for “public art that honors significant contributors to our community.” The funding sources were listed on the city’s procurement portal but did not reveal the full chain of ownership of the Epstein-linked foundation, a fact that has now been called into question by investigative journalists.

The Epstein‑Parnas Connection

What drew the most attention was the fact that Parnas had a prior working relationship with Jeffrey Epstein. A LinkedIn profile (link provided in the article) shows Parnas’s role as a consultant on “visual brand strategy” for Epstein’s “philanthropic ventures” between 2008 and 2012. The connection was first highlighted in a New York Times investigative piece (also linked) that delved into Epstein’s extensive network of art patrons and benefactors. The Times noted that Epstein was known for sponsoring high‑profile art projects in order to cultivate a prestigious public image.

Parnas, in an interview with The Washington Post, dismissed the allegations as “mischaracterizations” and asserted that his engagement with Epstein was strictly professional and limited to branding work. He added that the “Fit Parnas” statue was created after Epstein’s death and that the donor’s ties were no longer active.

Public Backlash and Legal Action

Community reaction in Plano has been swift and divided. A coalition of local residents, including the “Voices for Ethical Public Art” group, has demanded the statue’s removal. In a petition that gathered over 4,000 signatures, petitioners cited the “improper use of public funds” and the “embarrassing legacy” associated with Epstein’s name. The group’s letter, posted on VoicesforEthicalPublicArt.org, called for a city council hearing and an independent audit of the funding chain.

City officials, meanwhile, defended the project. Plano Mayor Maria Sanchez released a statement stating that all funding was properly vetted and that the statue met the city’s “artistic and historical” standards. Sanchez also noted that Parnas was a respected artist with “over 25 years of experience in public sculpture.”

In response, a legal team representing several former Epstein victims filed a lawsuit against the city and the Parnas Art Foundation, alleging that the statue “constitutes a public monument to an individual who committed crimes against children.” The lawsuit (link included) seeks a court‑ordered removal of the statue and a refund of the donation.

The Artistic Angle: What Does “Fit Parnas” Mean?

Beyond the controversy, the statue’s design has intrigued art scholars. In an op‑ed piece by critic Lisa Marino (linked in the article), the “Fit Parnas” phrase is interpreted as a nod to Parnas’s signature use of light and shadow to create “a sense of grandeur without ostentation.” Marino points out that the statue’s pose—hands clasped in a mid‑conversation stance—mirrors a motif Parnas employed in his earlier work, “The Senator,” which was installed in Boston’s public square in 2005.

Marino’s article, found on the ArtNews website, argues that while the sculptor’s oeuvre is undeniably compelling, the context in which a work is placed can alter its meaning. She concludes that “the public must decide whether a piece of art is judged by its artistic merits alone or by the ethics of its patronage.”

The Bigger Picture: Art, Politics, and Accountability

The “Fit Parnas” statue serves as a microcosm of broader debates about how societies choose whom to memorialize. When a public monument is funded by a controversial figure—or by a foundation tied to one—the question of legacy becomes inseparable from the art itself. Scholars and activists argue that transparency in the funding chain is essential, especially in an era where public perception can quickly turn against a monument once a donor’s history comes to light.

The lawsuit, the city council hearings, and the growing public outcry are likely to shape the future of the statue. Whether the statue will be dismantled, repurposed, or recontextualized remains to be seen. In the meantime, the “Fit Parnas” statue will continue to serve as a provocative reminder that monuments are not just stone and bronze—they are also symbols of the values and histories that a community chooses to endorse.