The notion of time is a predominant interest in Michael Raedecker’s work. His empty, haunting images are often compared to film. The studied framing of his canvasses suggests immanent drama: they operate like the in-between scenes of a continuous yet illusive narrative. The mystique of Raedecker’s work lies in the negative space. In shot, Raedecker painstakingly embroiders the lines defining the scene. Through this time-consuming process, Michael Raedecker doesn’t paint the image itself, but rather the space of its suggestion.

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