The allure of photorealism for me is its innate paradox.
A photorealistic painting begins with a blank surface,
a photograph, and pigment, which the artist manipulates to create an illusion of reality. The creation of these paintings is a highly abstract process. Essentially, little blobs of color, carefully applied and blended, come to represent and imitate recognizable forms. As much as I admire the final product, I enjoy the process of creating them much more - savoring the surprise moments when the little blobs of color become "real".

My photorealistic paintings represent moments in time
and therefore inherently reference their inverse - the
passage of time. The hours spent applying pigment
to a surface provides a third time-based layer - a
performative aspect which leaves behind a record,
or imprint of the artist's hand and consciousness.
Finally, the viewer adds another layer, with each
gaze bringing the painting into the present moment.

My interest in photorealism is as philosophical as it is aesthetic. By laboring over such detailed works, I increase my capacity for awareness of the tiny details that comprise the fabric of existence, an experience which I believe is mirrored in the viewer's mind. The clarity presented in photorealistic paintings encourages clarity in the real world, in observing one's surroundings - which leads to a heightened appreciation of the myriad nuances of life.