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His unique layering process transforms the depicted object or person by stripping the subject of its individual attributes while simultaneously giving it an auratic glow. If there's no red to speak of in the tight little roses found in Carnegie's still lifes Waltz I and Waltz II (both 2004), it's perhaps to show how the depicted object expires on admittance into painting. As familiar as the depicted objects often are, their identity is divorced from their function. |
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