He started to concentrate on close ups of female bodies since the mid ’60s. Then he shifted to full figure, only to return to the central part of the body, shortly after. His style has influenced several pop artists from Michael English to Philip Castle, and later Hajime Sorayama. But it’s worth to mention the predecessors who inspired his technique: in terms of lighting and texture you can see John Kacere adopted a mix between Tamara de Lempicka and Edward Hopper, and a debt of gratitude for the beautifully rendered drapery goes to Renaissance’s masters such as Titian and Fra Angelico. It doesn’t matter if John Kacere doesn’t paint red velvet and golden silk but mass produced nylon stockings and lycra panties. The talent is out of question. His childish obsession is for an idealized object of desire that is not a woman but a synecdoche, a plump but empty kind of beauty, enhanced by the sexy paraphrenalia of her attire. The faceless portion of these pin ups reminds us of a table set before a banquet. No matter how much pop art can gain from kitsch (Jeff koons knows it too well) John Kacere’s paintings are splendid and he fully deserves an Extraordinart place.