Gallery of arwork from 2005-2009







My object in painting pictures is to try and move the senses by giving an intensification of reality. Whether this can be achieved depends on how intensely the painter understands and feels for the person or objects of his choice. Because this is the only art in which the intuitive qualities of an artist may be more valuable to him than actual knowledge or intelligence. – Lucian Freud (Selz and Stiles, 1996, 219.)

When asked to write a statement about my work, it struck me as odd to express details about my portraits in as limited and precise a form of communication as written or spoken language. That is because my work is about everything that cannot be expressed through the language of words. My work speaks the language of the flick of one’s hair, the up-turned corner of a mouth, or the asymmetrical placement of a subject’s eyes. My art speaks the first form of communication that we as humans respond to, the language of the human body. The figure is an important subject for contemporary artists. Artists see, as we all do, the world through the eyes of their own body (Mullins, 2006, 10.)

I began this body of work, entitled People I’ve Known, in the autumn of 2005, during the first year of my Master’s Degree Program at University of Clear Lake Houston. Though my work had always been figurative, I had never really attempted to capture such specific details and personality traits of individuals as I have with this body of work. I feel that in painting the close up heads of these family and friends, my work’s focus has shifted from mere figurative painting to capturing contemporary life as I interpret it. Each subject that I chose to paint has come to represent part of my community of family and friends in Houston, Texas, in 2005 -2007.

I have painted over twenty people, to date, whose portraits will appear in the selection of slides that I present with this essay. I have painted four of my family members, people that I work with at Texas Art Supply, a spouse of one of my co-workers, a friend of my sister, friends that attend UHCL, a gallery owner that sells some of my art, and two strangers, I have never met before, I was asked to commission.

I do not discriminate when selecting models to paint, as I have always been interested in how different physical presences charge the space or environment that they are occupying. In attempting to paint people as they are, which may in fact be my subjective interpretation based on my relationship with the subject, I hope to convey an accurate sense of my models personality through paint onto paper. I feel that each individual represents a different place in my small cross section of humanity, and therefore stay open to painting anyone who I may cross paths with. Artists see other figures in action as they go about the most mundane tasks going to the supermarket, watching the news, having a drink in the bar. Figures, people, are all around, and importantly are always on the move, changing dynamics of a space, changing the atmosphere of a particular location, emotionally charging environments built for their interactions, precipitating events, (Mullins, 2006, 10.)

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