When a painter calls you to reproduce her work, you enter fully into the realm of perfections.
The photo must look perfect in its texture, of course, but the colors must also look exact. Furthermore, Alice Morse's work is sometimes only white, with molds and cracks that draw themselves with the shadows that are produced.
Therefore, when you light them to photograph them, you cannot make these cracks appear larger or smaller than they are. You know, if you give it a harsh light, the crack or molding becomes severe. If you fall short, the molding disappears.
I stopped to see the autonomy of the cracks and the moldings in an environment of intense, natural light. Then I copied just the right light and distributed it evenly on the surface.
The background in which the works are presented is also important. I've never liked gray. However, gray was the color most friendly to Alice Morse's work.
The sculptures represented another challenge. White sculptures. Again the volume of his pieces was determined by the light. If I missed the light or came up short, I annoyed her. She needed to sincerely show the natural shapes created by the artist.
The reproduction must not only be exact, it must also be faithful to the artist's intentions. That is, you do not dedicate yourself to playing with its pieces to create your photographic work, but you must strive to copy what you see: its volume, its colors, its cracks, its moldings and, above all, what the painter has wanted to show.