Paintings by

I begin with a problem that promises vitality sufficient to probe through multiple interwoven textual and pictorial levels, a fascinating turn of theoretic investigation or  a complex question in a historic, film, or literary thread born of ideas leading into other ideas, with force.

Sometimes it's simply a need to make ever-deepening thought into a visual tableau; this happens in Transition: Big Fish from the film Big Fish showing a character partially made up as clown, divided. Shown, left, is 21st Birthday with more commentary on identities.

The Symphonic Instruments series began from anti-war posters made for the Zagreb Philharmonic illustrated by Boris Bućan. Musicians fight against one another: probably our last thought when thinking of an orchestra's generally modulated lyric qualities.  Each autonomous instrument's use enters as a kind of goal, encouraging further penetration into networks and complexes. This provokes questions that will bear on any work, and stimulates fascination-satisfaction-longevity for the viewer.


Another tool I use is "interrogation" to pluck at surfaces and reveal the whys-and-wherefores of war or politics in my own work and that of others--death as that in Rembrandt or interiors by Vermeer--and render those by a mode-of-working; by expressive qualities; by conferring with an era or time or thematic necessity-development.


The New Alice extends Lewis Carroll's archetypically untrammeled 7-year old uncontested in her dream-world, her whimsy and subjectivity, in her insouciant intellect, and into her new realm, a growth of connections outside or beyond the querulous animal-poker-chess and nonsense-poetry range, in the quaint promises of  linguistics, logic, mathematics. New Alice, after she's had a 10 to 12 year hiatus, is the contemporary child-woman re-presented, and as contemporary to our time, creating an odd lacunae.

The Cantos series delves into darkened dichotomies of political Turkey, then the Middle East, Macedonia, Burma, Indonesia. The viewer is enabled to move in closer, is made amenable to difficult subjects that may or may not upset a legendary myth (like our Alice). Interesting.


Some Grids deal with the large shifts in thinking from one century or mode or style to another, from forensics to fantasy to Nordic images, then to animal justice; here, judges are succinctly capable of incorporating minor or Supreme Court judgments into their own vernacular.


Other episodes extend through 2012-2014; one is The Lorenzetti Project, with its own introduction, following. Latest is The Baltic Sea series. Click categories top of this page. 

See  by going to the Link to Issuu Web Site  page.


If this rather mellow introduction leaves you with questions, please get in touch.

"Powerful work"--Martin Jay, Sidney Hellman Ehrman Professor of History at the University of  California, Berkeley.





                 For additional information about my work  contact me at      
Carol M Dupre . Fine Art . Painting


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   Photos by Jerry Sitrin