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Conceptual Statement: Master Copies: A Series of Trompe L'oeil paintings.
As a traditional painter, concept is often a very plain part of my work. Though something like a still life may carry deeper meaning than what's on the surface, the painting is ultimately about the objects depicted. Allegory and metaphor certainly come into play but compared to a conceptual artist (the folks who collect fingernail clippings, or some other foolishness), traditional painting is generally quite clear in its meaning. And I think that's the case with my paintings.
Rembrandt, Vermeer, and Caravaggio are the definition of good painting; I return to their work constantly for study and inspiration. Many picture books surround my home and studio, which lead me to an odd realization: I haven't actually seen most of these paintings. My experience with Caravaggio, for example, is made up entirely of reproductions; I know them as nothing more than pictures in books. I read that his painting of Judith beheading Holofernes is more than six feet wide, but I've only ever seen it as an eight by ten inch print. It's a strange and somewhat embarrassing thing to admit. And how do I know how accurate a reproduction is?
This series of paintings are copies of masterworks which I have not seen in person. Their presentation as trompe l'oeil was a rather literal decision as I'm not copying the originals, but photographs instead. I selected works which I thought would be challenging (which immediately proved true) and I ended up having a lot of fun with them. They were also, of course, humbling and tremendously educational. I intend to return to this series in the future. I'm anxious too, to put some of what I've learned to use in my own work.