Sharon Core

Sharon Core is a photographer, best known for her Thiebauds series (2003-4) in which she created photographic interpretations of American painter Wayne Thiebaud's renderings of food. Two of her works in the Thiebauds series, Candy Counter 1969 (2004)[1] and Confections (2005) were acquired by the Solomon R. Guggenheim Museum in 2005. She currently lives and works in Esopus, New York.

Candy counter 1969 By Sharon Core

In the above image she attempt to create an authentic, duplicate of the original work  

Candy Counter by Wayne Thiebaud

Wayne Thiebaud style can be considered akin to pop art, or even some of the work of Paul Cezanne, with flat areas of colour, even in the more detailed areas such as in the toffee apples on sticks above, they are still created in flat areas of colour.
Core attempts to replicate this style by having certain areas of her set up such as the shelf and scales, built and painted to match Thiebaud's painting style, and add further realism to the idea of the 'copying of the artwork.' The image is lit in a flat lighting style, casting minimal soft shadows, to capture the almost flat nature of the original.
This series again lets us question the idea of the importance of objects. This work can be considered a copy or more rightly a homage to the original, as it is changing the medium in which we are seeing the image. It also brings in to play the question of authorship, and originality. Are Core's works considered pieces in their own right or are they just a copy or imitation of the original. The original painting has be physically recreated,  giving it a presence, the original work didn't have. The original painting, is the artists interpretation of the scene, because of which we have to consider the amount of 'artistic licence' was applied? It is an image we have to take on face value as being an accurate representation (even if it was created entirely in the mind of the artist). Whilst Core's interpretation, is a photograph, by it's very nature it is an indexical representation of a physical set up. Whilst the original work could be considered the definitive article and representation, Core's photograph, by the nature of the axiom "The camera never lies" could be considered more authentic.