Larry Groff interviews painter Harold Reddicliffe about his work.

Reddicliffe notes: "I’m endlessly fascinated by the idea of taking… a real three-dimensional object or objects and translating them on to a flat surface so that clearly the reality of the object I’m actually making (the painting) is that surface, and the flat shapes on it. And the illusion is how those flat shapes can be reassembled into some reference to the original subject that I started with. And I’ve done everything I possibly could think of to try and conflate the two, in the painting process, so that one is reminded constantly of the fact that no matter how persuasive the illusion might end up being, if it works, it is finally only a bunch of patches of color. And simultaneously, when that’s being pushed—when the idea of these two-dimensional relationships has taken primary focus in a painting—it’s very important to try to do nothing that would undercut the viewer’s ability to still read these shapes as a very specific illusion of equally specific three-dimensional forms. So there are a lot of conscious decisions in lots of the paintings to create a real visual pun."