Weber's painting practice focuses on representational depictions of abstracted moments in the everyday and instances that provide new insight into given truths. Weber isolates the strange, often overlooked, imagery of reflections from their recognizable context on cars and buildings and translates them into paint. Familiar landmarks and street scenes morph into ambiguous brushstrokes and become fragmentary delineations – the once flickering images easily understood as reflections become static objects as valid as their source. The process of viewing and understanding these representations rendered in paint is slowed and relies more on the viewer’s preconceived worldview than environmental cues.
The paintings meditate on how inhabitants see themselves and others within the morphing milieu of their urban landscape. The painted surface becomes an area to project upon and reflect back the gap between our confidence in the truth of our perceptions and their constructed and fallible nature. The medium of painting is a fitting tool as it echoes the structure of perceptions - it is a construct but has the ability to produce the effects of reality.