How can a painting become a camera? How can a camera become a painting? A photo that’s not a photo, but a painting of a photo of a painting?

For the duration of my practice, an artwork’s terminal goal has been its place on a website; the documentation image—its digital double—takes priority over its material condition. I was interested in how the documentation photo could obtain even more precedence in this relationship: how the documentation image could be the artwork, and its material double would be useless in its absence. Using this thought as a springboard, I began photographing a series of paintings using pigment and water: a combination of mediums that has a brilliant sheen when wet, but when dry the painting pales and washes out. Therefore the documentation photograph of the painting must be taken while the painting was still wet, still in flux. The wetness of the canvas allowed reflections to appear, and in those reflections, I staged a series of “images” invoking archetypal painterly themes. In this sense, the painting acts as a camera, creating exposure through the reflection of the wet paint,  and the photograph acts as a painting, by way of its capturing and subsequent physical rendering of the frame of the canvas.