Fish and ships,

Pasatiempo - - The New Mexican -

pho­tog­ra­phy. “I see my work as pop art rather that fine art,” he said. “I would rather sell 100 prints to 100 peo­ple at $100 per print than to one per­son for $10,000. Art should be tran­sient and af­ford­able. I like the fact that ev­ery­day folk put my work on their kitchen and din­ing-room walls and get a lot of joy and plea­sure from it. And when they get bored with it, they should take it down and re­place it with some­thing else.”

Warner be­lieves that tra­di­tional gal­leries that pro­mote art as an in­vest­ment op­por­tu­nity en­cour­age mar­ket spec­u­la­tion and fi­nan­cial ap­pre­ci­a­tion rather than en­joy­ment and true re­spect for the work it­self. “I know that this is not true of many es­tab­lish­ments and in­sti­tu­tions,” Warner said, “but it is a sig­nif­i­cant part of the art world, which ad­heres more to­wards a cul­ture of greed and ma­te­rial gain. And al­though artists need to make a liv­ing to con­tinue cre­at­ing their art, I would pre­fer to see the wealth it gen­er­ates spread more evenly so that we can en­joy a greater ar­ray of artists’ work rather than a se­lect few who have been groomed for in­vest­ment via brand­ing and celebrity sta­tus.”

The devel­op­ment and prac­tice of cre­at­ing food­scapes has had an ef­fect on Warner’s at­ti­tudes to­ward food. When work­ing with in­gre­di­ents in the stu­dio, he doesn’t get hun­gry. He sees the food more as an or­ganic ma­te­rial with which to paint. “I’m al­ways look­ing at it and han­dling it with vis­ual mo­tives rather that gas­tro­nomic ones,” he said. “I do, how­ever, take my work hat off when I’m cook­ing. Good pre­sen­ta­tion for me out­side of work means that I im­prove on the out­come of the dishes I cre­ate in the kitchen, bring­ing as much color, tex­ture, and struc­ture to the plate as I can.”

Salami Tus­cany, fea­tur­ing a sky of Parma ham

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