Space is handled through a deliberate tilt. The tabletop is pitched up toward the viewer, and the horizon line sits unusually close to the vase’s rim. The result is a staged, “unphysical” room where objects stack rather than recede. You can call it reversed perspective, but the mechanism is plain: the table lifts, the sea presses forward, and the bouquet crowds the upper half.
The sea and sky are not background decoration. White foam breaks across green water, and the sky thickens into a dark band, suggesting weather about to turn. That exterior instability rhymes with the bouquet’s internal darkness.
The paint surface supports the theme without overstatement. Passages look abraded and rebuilt: bright areas on the table feel washed back, then reasserted. The image carries time as process—layer, loss, return—until the still life becomes a scene of endurance. It ends as a confrontation: a black offering set in front of a storm line.
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This painting was made in Brooklyn, New York, 2016.
In process of creation, the artwork was processed with multiple washes.
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