The first thing most people ask when they look at my paintings is "That's a photograph, right?" To me, that's the highest form of praise. When I sit down to paint, my goal is to capture the image as closely a possible.

Some people can't understand why anyone would spend so much time reproducing a photograph. Why not simply show the original picture instead? This reminds me of the answer Louis Armstrong once gave when a journalist asked him to describe Jazz: "There are some people that if they don't know, you just can't tell 'em."

The fact that you are reading this means that you probably already know. If that's the case, I thank you for your interest and support of my work. To provide a more detailed explanation of how I choose the subjects that I paint, I have included my artist statement below. Please enjoy.

My goal is to challenge people to reflect on the meaning of the word "progress". Is it always good? What is the proper balance between culture and profit? These issues are now confronting us more than ever before.

The past decade has seen an explosion of chain stores such as Starbucks, Banana Republic, Gap and Walgreens. "Big Boxes" like WalMart and Home Depot have also pushed many local competitors out of existence. Left unchecked, this process strips communities of their identity. America is at risk of becoming a giant strip mall, with the same generic cluster of stores replicated over and over.

By focusing on the vanishing places with their wonderful quirks and charm, I hope to preserve a bit of the character before it disappears altogether.

The style of painting I use (photorealism) is particularly well suited for this. Each painting is based on my own reference photographs, meticulously rendered and painted by hand with acrylics. No mechanical tools or shortcuts are used, simply good old-fashioned brushwork. Through this rigorous process I create a heightened sense of realism that transcends photography.

I am forever searching for beauty in the ordinary, with a particular fondness for gritty storefronts and weathered old signs. I also like to include figures and crowds, which give the paintings a vitality not often associated with contemporary urban realism. My style is deeply rooted in the classical tradition. It draws on many sources, from Caillebotte and Hopper to Bechtle and Estes. My wish is that the work will endure as a sort of "time capsule", providing a window into the spirit of our time for future generations.

In choosing to paint photorealism it helps to have a sharp eye and a steady hand, plus the ability to self-critique ruthlessly. (Some might also suggest that it helps to be obsessive-compulsive, with a touch of masochism thrown in). Though the process is demanding, the challenge of achieving perfection can be quite addictive. I suffer happily.

David Holmes
August 2004