In a previous work, I began to explore the concept of including a representation of the frame as part of the work. I took this concept a step further with Chiesa di San Giorgio Maggiore da Piazza San Marco. And I went back to doing my homework.
The style of the frame was researched and the image chosen to complement the frame, instead of the other way around. The work was originally intended as a sketch for a painting, but when it was finished, I found that leaving it as a drawing added another conceptual layer, with the frame drawn in charcoal and an image of Venice drawn in pencil, deconstructing the concept of painting.
It asks a post-modern question: what is the frame, what is the image? Drawn into the frame is a reference to a painting that does not exist titled “Scenic Venice” and an attribution to the artist (myself) in a placards at the bottom. This “painting” would become the basis for my graduate show, Venezia.
