Maria Calandra visits the studio of painter David Malek.
Calandra writes about Malek's new paintings in which "enamel paint, his obsessive tendencies, and a time consuming amount of brushwork result in a canvas that really gives the viewer the optical go around, posing questions that lead to more than one conclusion on the process of the work. When I first arrived, and a good hour into being in Malek's studio, I thought the smaller painting was a photographed image that he was using to make the larger painting from, having not gone up close to it yet. I had been had. It was just a smaller painting. To add to my confusion and miscalculations, Malek isn't even using a photograph of the moon at all to work from, but instead painting from photographs of plaster models of the moon's surface that where made by James Nasmyth in the mid 19th century. Nasmyth made these models from observations of the moon before the moon's surface could be photographed. It seems that both gentlemen's work deals with a strange simulacrum, Malek's of painting, and Nasmyth's of outer space."