My focus is to expand on the historical tradition of still life painting. I use the tools of my academic background in still life to play with perspective and challenge worn out narratives, pushing the edges of perception to create an unexpected dialogue between object and ground.
Where the still life typically strives to construct spatial order among multiple objects, I investigate the relationship of a single object to its background. At first glance, the work appears to be painted in the manner of realism, but my breaking the rules of perspective and creating spatial impossibilities helps invoke a sense of mystery. The object and ground are inexplicably intertwined. Employing an aerial point of view bestows a sense of privacy on the viewer, and I often produce large-scale works, rendering delicate, intimate objects monumental.
My subjects are chosen carefully for their cultural significance, exploring the juxtaposition and conflation of divergent historical eras, cultures, and values. An elegant Art Nouveau vase sits sacrilegiously atop Mondrian’s modernist masterpiece Broadway Boogie Woogie. A piece of Mexican souvenir pottery rests on a regal Persian motif.
In Bowl on Cherries, a humble Asian bowl is presented on a 1950’s era American cherry motif tablecloth, entertaining the notion of the handcrafted versus the mass-produced object. The work also transforms a well-known saying about life into a visual pun: The bowl is not “full of cherries” but the cherries are curiously reflected in the bowl’s exterior glaze.