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This series came to exist in an un- expected way. I was at a friend’s house and he served tea. When the tea
arrived, it was served in a silver teapot with a silver creamer, sugar bowl, and tray. is was the rst time this service had been used and it was in absolutely pristine condition with highly re ec- tive areas. My husband urged me to take some pictures as I was gazing into the teapot admiring the re ection of light and the other parts of the service. At the time, I had been painting other antique objects with re ective surfaces, mainly chandeliers. Once I had paint- ed this rst silver set, I loved the inter- action between the objects on the tray and the various challenges involved in painting silver. It became a repeated image that I began to seek out at various antique markets.
A recurring theme in my work has al- ways been to present the viewer with an alternate view of the ordinary. I try to crop images in an interesting way or present various focal points within an image. O en objects are re ected into one another, part of the under-painting is visible, and there may be dripping paint or textured areas. I always want there to be more to a painting than simply subject matter. My goal is that every time someone views the piece, they nd something new to look at.
ere is a type of sadness that I feel when I nd these objects to paint. O en they are being sold at antique markets and are far away from that