Appearances
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The artworks in this book begin with a traditional portrait drawing or painting. Often, years pass before the initial piece is altered. At times, I irrevocably erase or paint out areas. In other instances, I resort to cutting up paintings or drawings in order to collage or create a new stand-alone piece. All this risk-taking is done in the hopes of creating something stronger and more authentic. This type of destruction of my original work feels not only perilous, but also limiting. Thus, I gratefully welcome using New Media prints, as prox-ies. At times, I feel it necessary to permanently alt...
The artworks in this book begin with a traditional portrait drawing or painting. Often, years pass before the initial piece is altered. At times, I irrevocably erase or paint out areas. In other instances, I resort to cutting up paintings or drawings in order to collage or create a new stand-alone piece. All this risk-taking is done in the hopes of creating something stronger and more authentic. This type of destruction of my original work feels not only perilous, but also limiting. Thus, I gratefully welcome using New Media prints, as prox-ies. At times, I feel it necessary to permanently alter the original piece, but for the most part I use New Media prints on paper or canvas. This allows me the freedom to experiment, fail, and push the boundaries of traditional portraiture. One approach is to utilize these printed portraits in conjunction with maps, diagrams, collage, and even dirt... This experimental modality might also transition into using high flow paint in partnership with the portrait. The high flow surfaces serve as a background or a direct pour across the por-trait itself. I also employ ready-made papers, which bring a new aesthetic to my work. I use these extraordinary papers as dynamic portrait backgrounds. Overall, in creating these new works, I fortunately am able to incorpo-rate the best of both worlds. I combine my "Old Master" egg tempera and oil painting technique with digital printing, collage, and high flow paint. I also merge my proclivity for realism and control with my pension for multiple in-terpretations and chance. My intention is for a synergy to occur between tradi-tion and experimentation, perhaps resulting in a fresh and unique perspective. In creating portraits, I am acutely aware of the many aspects of individ-uals-both overt and mysterious. Moods are in constant flux, and each of us is challenged by circumstance. My hope is that these portraits honor these many complexities, as they honor those I have been able to portray. My creative exploration and sensibility is the binding that holds these pages together-a story that has no plot, no conclusion, and is not linear.
