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Mami Kosemura’s photographic and video reworkings of sumptuous 17th-century still lifes and animated 15th-century profile portraits are very postmodern in their focus on copying and re-examination of historically significant Western art.

Her 2018 digitally edited photograph “Banquet,” for example, closely follows the composition of “Flowers and Still Life” by Flemish artist Cornelis de Heem (1631-95). In both pictures carnations, grapes, peaches and plums are heaped on a table, while a curl of lemon peel and a cherry, among other things, hang over the edge towards the viewer as a trompe l’oeil, seeming as though they are just about to break out of the picture plane.

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