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With his own unique language, Michael Chapman interprets the world around him. His themes are thoroughly modern, addressing the perception of reality and it’s mutability. The parallels between his work and that of Edward Hopper are striking: geometric motifs, suggested narratives, and interiors with views through a window. But Chapman describes the relationship as indirect, one that is responsive rather than imitative.
Over the past nine years, the artist’s themes and subjects – beach scenes, interiors, city streets, trees and parks, and nocturnes- have become increasingly more complex in their content and composition. Consistently featuring such objects as fire hydrants, chairs, tables, cars, and trains. Chapman continually reconceives their arrangements, explaining that he has a “vocabulary of subject matter” that interests him. “I resolve the same ideas in different ways,” he says. “My mind keeps working on them without being conscious of it. It’s almost as if it’s a matter of time before I will come up with a final solution.”