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precise photorealist style and inspiration from the Baroque-era artists, such as Caravaggio, who played with light
and shadows. She is also interested in conveying the materials that each item she draws was made with, such as
metal and leather. In one work, Route 66 Neon Sign, she breaks from her traditional black-on-white composition
style to obtain the glowing effect of the sign.
One of the major challenges that Copeland encounters when composing each piece is finding the right object
to depict. She works from a list of items that she one day wants to draw, but the things she selects have to meet
a specific set of criteria to make the cut. Copeland is looking for unique objects that have details, contrasts and
textures and can pose artistic challenges. She also looks for objects that will translate well to black and white.
“I like experimenting with different textures and surface finishes, and usually when I’m in the antique store
I’ll take a picture of the item. I’ll turn it black and white on my phone because some things lose their effect
when you change it to black and white,” Copeland explains. “If I like it, I’ll buy it, bring it home and set it up in a
studio setting. Sometimes I’ll take 100 to 500 photos of the object in different positions and lighting. I’ll go to my
computer and eliminate them until I have about 10, then edit about five of them and choose one.”
Copeland then manipulates the photo to exactly how she wants it to look and begins to draw freehand onto
her paper, which she hangs on the wall to get a better perspective. “I have my computer beside me as well, and
there are two images that I’ll be drawing from,” she shares. “There is the actual full image and one zoomed in on
the area I’m drawing. I find when you zoom in it makes it abstract and confirms you’re drawing exactly what you
want rather than what you think it should be.”2
Antique Telephone,
charcoal on Stonehenge
paper, 50 x 50"3
Vintage Lantern, charcoal
on Stonehenge paper,
41¼ x 30½"2