Notes on still life

Still life has always been a laboratory. You control the objects, the light, the frame. Nothing moves unless you move it.

The risk is that the control becomes too visible—the arrangement too deliberate. The best still lifes feel as if they might have assembled themselves, or as if the painter (or the photographer) merely happened upon them.

In the Still life series I limited the palette: neutral backgrounds, a few objects, one main light source. The aim was to keep the attention on form and shadow rather than on variety.