Still life paintings by the Old Masters often depict objects symbolizing the wealth of the client who commissioned the piece. The paintings themselves became another way to showcase the owner's wealth. In today's fast-paced life, the desire for material possessions has been replaced for many by the longing for time to slow down and live in greater awareness of the present moment. In capturing a moment, today's still life and landscape paintings offer the viewer an experience of that wished-for luxury of time, an opportunity to see and contemplate the luminous qualities of everyday objects, nature, or landscapes.

Following the tradition of a favorite female artist, the Italian Giovanna Garzoni, I explore themes of foods and landscapes as they are in a state of flux with climate change and still life to find the meditative beauty in the ordinary and the extraordinary in the often overlooked. As a female painter in the 17th century, Garzoni was recognized in her own right as an accomplished painter. Her primary subject matter was also foods (fruits, vegetables), plants, and insects. However, while the foods of the 1600s are recognizable today, many were clearly not the same visually and would have often tasted very different (some better). My focus is today's food, as we know it now, and a century from now, it will probably have changed even more.

Like the Old Masters, I see the gemlike qualities of everyday scenes and objects: iridescence, color changes where light hits a curve, shapes refracted through a water-filled glass bottle, shadows, and reflections in landscapes. I purposely choose the representational and realist styles as I'm inspired to paint what's recognizable but often overlooked, things not seen with a fleeting glance. My goal is not photorealism—standard photographs show only what the camera sees—but to offer the viewer a chance to pause and see ordinary things in a new way. If I'm successful, different things are seen each time one looks at the painting. This experience can be likened to enjoying a piece of music again and again.

Whether working in egg tempera, with the slow building of translucent layers, or in oil, with more freedom for experimentation and longer drying time, both approaches intensify my perception of the subject, which is reflected in the finished piece. Both suit my style and subject matter.