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.
Unable to view this article?
This could be due to a conflict with your ad-blocking or security software.
Please add japantimes.co.jp and piano.io to your list of allowed sites.
If this does not resolve the issue or you are unable to add the domains to your allowlist, please see out this support page.
We humbly apologize for the inconvenience.