“Tilted Bather, ink”, ink on paper, 18″ x 24″, 2014.

"Tilted Bather", oil on canvas, 70" x 79", 2014

“Tilted Bather”, oil on canvas, 70″ x 79″, 2014

 "Rubbing, Lunch", charcoal and graphite on paper, 25" x 31", 2014

“Rubbing, Lunch”, charcoal and graphite on paper, 25″ x 31″, 2014

Traditionally a painting treats you to the most expensive seats in a theater, and you have an optimal point of view of the scene. This series of drawings and paintings entertains the idea that you might get a seat that’s off to the side. Elements of the set might be misaligned, you might glimpse the actors before they’re ready to perform, or you might realize something you thought was round is actually flat. Manet’s Le Dejeuner sur l’herbe encompasses a pivotal point in art history when pictures began to address their own flatness. Critics originally balked at Manet’s flimsy figures—they seemed to have the volume of a playing card. Stepping inside this iconic painting gives me the opportunity to illustrate quite literally the contradictions of deep pictorial space and flat picture planes, and pull out new narratives in the process.

Text by Dana Lok