PAESSAGES, FINDING MORANDI
Referencing the late landscape paintings (1933-1964) of Bolognese painter Giorgio Morandi as he reached a point of total abstraction in his artistic vision
All Images © 2026 Kate Beck/Artists Rights Society (ARS), New York
Paesaggio I, 2022. Digital Archival pigment print on Hahnemühle German Etching paper. 16 inches x 16 inches, finished and 20 inches x 20 inches framed
Paesaggio III. Digital Archival pigment print on Hahnemühle German Etching paper. 16 inches x 16 inches, finished and 20 inches x 20 inches framed
Paesaggio IV. Digital Archival pigment print on Hahnemühle German Etching paper. 16 inches x 16 inches, finished and 20 inches x 20 inches framed
Paesaggio V. Digital Archival pigment print on Hahnemühle German Etching paper. 16 inches x 16 inches, finished and 20 inches x 20 inches framed
Paesaggio VI. Digital Archival pigment print on Hahnemühle German Etching paper. 16 inches x 16 inches, finished and 20 inches x 20 inches framed
Paesaggio VIII. Digital Archival pigment print on Hahnemühle German Etching paper. 16 inches x 16 inches, finished and 20 inches x 20 inches framed.
DETAILSPainting a series of eight large-scale oil works over eighteen months, I began to intuitively photograph the paintings in situ — leaning into abstraction as I do with the lens while walking — falling upon a state of visual flux alluding both to Morandi’s works and confronting the interstice of realism and abstraction in my work, inwardly reflecting a “bright, fresh, light” of what I envision to have been driving Morandi in his beloved Bologna, postured here from the coast of Maine. The final project consists of nine archival pigment prints on Hahnemühle German Etching paper. The large paintings were destroyed. After Landscape 1942