My investigation began with the manipulation of Old Master paintings. In Whistler, Rembrandt's Puritans, and Prometheus, I rotated the perspective and imagined the painter behind the painting. I took a Henry Raeburn, and rotated the work by 90°, and then projected the context of the painting in a kind of ‘opening of the field.’ These gradually became more humorous and ironic as I researched the painters, the models, and the times
