My artistic practice, developed over more than five decades, operates at the intersection of photographic illusion and handcrafted realism, using the airbrush as his primary tool. Through a highly developed airbrush technique, my paintings deliberately mimic the appearance of mechanically reproduced photographs, yet through sustained and careful viewing they reveal themselves to be entirely “hand painted.” This tension between what appears technological and what is actually manual forms the conceptual core of his work.

My goal is to slow down the viewer’s experience and transform passive looking into active seeing. By creating images that resist immediate comprehension, I hope to encourage viewers to question their assumptions about how these objects are made and how meaning is constructed. The work draws attention to the cultural, institutional, and technological systems that shape perception, especially within museum and exhibition contexts.

These paintings are based on extensive photographic research, often involving hundreds of reference images. The photographs, many taken in museums, are carefully analyzed and reconfigured in terms of viewpoint, lighting, focus, and spatial composition before being translated into paintings. Through this process, the original photograph becomes a new object, layered with historical, cultural, and material meaning.

Rather than focusing solely on technical skill, I want the work to explore deeper questions about why such painstaking methods are used. In an era of rapid digital image production, my practice emphasizes time, labor, and attention, aligning with the idea of “slow painting” and “slow looking.” Employing and artifacts functions primarily as homage, not appropriation, I recontextualze artworks and artifacts to explore ideas of authenticity, value, and preservation. Ultimately, the work invites viewers to engage more thoughtfully with images, their making, and the cultural values they embody.