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.
