David Mramor collapses painting and photography in his mixed-media canvases to explore and question the veracity of both mediums. In describing his approach, he writes that he “creates an interruption that looks to question the reality of the paint versus the reality of the photograph. The ‘real’ versus the ‘illusion.’” These interruptions appear as thick patches of modeling paste, gestural acrylic brushstrokes, dripping spray paint, and washes of varnish, among many other markings and materials, all of which Mramor applies over blurred photographic images printed directly onto canvas. The base images for his emotionally charged, obliquely personal works come from his own collection of snapshots of friends, family, and natural landscapes. Partially obscured and fuzzy, they appear as ghostly auras of their actual subjects, suggesting that perhaps paintings and photographs do capture the essence of that which they depict.