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This is one of a series of self-portraits and studio interiors in which Wonnacott has used mirrors as a device for disrupting the viewer's sense of space. His obsessive pursuit of objectivity in depicting perspective and proportion, modelled on sixteenth- and seventeenth-century Italian art, can lead to strange, distorting effects. The figure in the mirror is the painter, while the two other men are his friends. His wife is also visible, reflected in the mirror through glazed doors leading to the room behind the painter and the viewer.

August 2004