The Art of Trompe L’Oeil 

My paintings are about transformation, are autobiographical and often have art historical reference. I have a great interest in and awareness of art history. I find that reinventing acknowledged masterpieces is a high-risk challenge. Borrowed art is often a blatant element of my compositions; it is direct, undisguised. It isn’t a copy as an end in itself, but as an integral part of my painting. The idea and intent are totally different from the original. Many of these paintings are statements about reproductions and reflect my admiration, affection and respect for the original work.

Trompe l’oeil illusionism is but a lure to draw the viewer closer to and into my work. I want to bring the viewer to the verge of illusionism, only to finally assert the reality is the paint, the canvas or board, the perception. I like the deception, but I do not ultimately intend to deceive. The interval during which a painting is mistaken for the “real thing” or the “real thing” for a painting is a triumphal moment in trompe l’oeil art. The deception is usually momentary and once the illusion is dissolved what remains must be more than a successful simulation; it must be a work of art on its own merit.