Coran has been painting on plastic for ten years, a technique whose references are wide-ranging—from digital screens to 19th-century Japanese reverse glass painting. He has developed a method of painting on both sides of the transparent surface, producing multiple overlapping foregrounds and backgrounds. The see-through surface is not just a support but part of the image itself. It catches light, mirrors, and introduces a delay—something you have to look through. Painting on plastic suspends the image within shifting, disorienting effects that reflect his exploration of perception, recognition, and the slippages between them. ...
