In this new series of paintings for 2017, I continue the practice of making pictures within pictures. The embedded images—vignettes—act as windows to scenes of conspicuously different tenor—higher drama here, a calmer mood there… They come from historical paintings, often dating from the 16th and 17th century. My choice of images, so drenched in metaphor, is intentional—I paint with my tongue in cheek, considering notions of attitude and consequences.

Because these paintings are small, almost miniature in scale, they beg the act of intimate inspection. With them, I hold up a mirror. I ask the viewer to enter into the work, invite reflection, and, ultimately, to see—in both the physical and metaphysical sense.

By giving the work titles such as The Optimist, The Pragmatist, The Futurist, I am guilty of leading (or perhaps misleading) the witness in the conclusions that they draw…