A still life painting begins with an arrangement that can hold the artist's attention for weeks. Regan sets up on a north-facing table, where the light stays even through the day, and works from life rather than photographs — the sittings are long enough that fruit is often replaced mid-painting and the composition is adjusted around what has changed.
The oils are built up in thin, deliberate passes: a toned ground, a drawn placement of the largest shapes, then color laid in from the darkest notes outward so the whites of porcelain and the highlights on glass arrive last and stay clean. In the encaustic still lifes the same subjects are made from layered beeswax and pigment, which gives the fruit and cloth a depth of surface that oil cannot reach.
What holds the group together is less the objects than the interval between them — the gaps, the reflected color bouncing from one form into another, and the shadow that anchors everything to a plane. Work in this gallery spans studio years in New York and Massachusetts and is shown newest first, with title, medium, and dimensions listed for each painting. Selected pieces are available; use the contact page for prices and availability.