Rosslynd Piggott

Objects which exist in tangible form, such as buildings or even quattrocento paintings in the Louvre, are rendered by Piggott with a delicacy that makes them seem intangible and ephemeral, like surrealistic dreams that hover on the other side of consciousness.’¹

When I looked out the bedroom windows I could see the mountains of Carrara for instance—and that’s where Michelangelo got his marble from … You’d be living in the landscape and the next day you’d go to the Uffizi and see that very same landscape in a painting, so you felt as if you were living inside the landscape you were painting.²