The painting is simultaneously the instrument and the destination of the photographic capture, aiming less at sublimating these details than determining them as objects soon relieved of their condition as fragments and then meants to become a legitimate whole in themselves. From this perspective, Cottingham’s art, like that of other photorealist artists, is to be understood less in terms of a form of dependence on photography than as seeking to deceive its quality as a faithful reflection of reality. Pop art had already cultivated a form of disillusionment with photography. For Lichtenstein, Warhol, or Rosenquist, among others,the point was to transform media images (from comic strips to pictures of consumer products or journalistic snapshots) under an ironic prism that required a transfiguration of ready-made images through a strict mastery of plastic means. For the generation of artists who followed him, it was a matter of leaving the “interiors,” abandoning the persistent model of still life and challenging photography for the privilege it had acquired in the representation of the real world.

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Time:	Jun 12–Jul 19, 2025 (UTC+1) ENDED
Location:	Georges-Philippe & Nathalie Vallois Gallery, Paris

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