Portraiture through historic events that occur in the subject’s life has become the focus of my work. The medium is varied. As traditional painters use studies to help bring them closer to a final product, so do I, more with the intent of isolating an event in the subject’s life. Whether pleasant or not, I strive to depict these events through paint, documents and found objects. Life’s events shape our beings and these events are my pallet with regard to all my portraiture. While a subject in the past may infer their family or their own interests in their representations, I hope to display as much of their life as possible through my chosen mediums.
These works are paintings; it is my hope that they are perceived as such.
The aesthetic challenges of these works add a level of composition and form to otherwise quasi-conceptual work. I feel that aesthetic unity is important to my work, as well as conceptual integrity. I wish my portraits to have the ability to stand alone. I don’t attempt to hide any meaning or subtle confined psychology that the viewer needs to work through in order to appreciate them.
Accessibility is paramount to my work. While the way I classify my work as portraiture and painting can and could be explored on levels outside overt content and aesthetics, they don’t need to be. They are what they are. The painting.
Again, Portraiture is my focus – now and for the foreseeable future. Why is this important my artistic explorations? The tradition of portraiture in any form lends itself to topics, history, psychology and painting. I intend to pursue this course of exploration for some time, as to not do so would be a true failure and a gimmicky, limited body of work. The challenge I have before me is to do my best to create work that explore my subjects as completely as possible. I doubt I will ever accomplish this, but the push toward this goal is what matters. My individual pieces are self contained, yet part of many narratives and events. I hope when each subject is developed via my paintings, their lives can be seen for what they are. The observer can be the judge of their character and historic importance.