I find that paintings that carefully observe a model with sensitivity express and become far more than just a figure study. They become a more intimate thing, not just an image, but a window into a story, and that is what I strive to do in my own work.
In my figure paintings, I worked towards accurate and expressive portraits that allow character and mood to show through, because I feel it is important to capture the individuality and the reality of the model in front of me. All too often, human subjects of paintings become too stiff and too objectified, and they lose rawness and personality. It is very important to me to save that rawness and turn it back into the liveliness of a painting.
I use unusual materials like untreated birch panel or cloth-like bookbinding paper with oil paint, in the hopes that the juxtaposition of such a classic medium against a thoroughly untraditional surface will highlight the exploration of character going on in the painting.
These works represent an exploration in portraiture, an unusual perspective in the portrayal of faces, and an experiment in material.
I am a native San Franciscan, although I am currently attending the Rhode Island School of Design in Providence, RI. I’ve been painting as long as I can remember, in classes, but mostly on my own, painting self-portraits to learn observation. While I consider myself first and foremost a figure painter, I am also interested in many other media, techniques, and subjects.
Many of these paintings are portraits either of myself or my younger sister Lillian, for whose patience I am very grateful.