Ibegan painting at age 40 and had painted for several years before realizing that to make meaningful paintings; I had to care deeply about my subject. It occurred to me I had been drawn to people and faces all my life— that I was a natural people watcher. Yet, it was even later that I became aware that I was not simply watching
people. My observation was a much more sensory experience, one in which, once having been drawn in by a person’s outward facade, I was sometimes able to perceive a defining essence, a brief impression of their identity. However, this is not something I experience frequently. For instance, I can sit in a coffee shop for several hours, observe dozens of people coming and going and only experience this connection with one or two. These experiences offer me a moment of expression and emotion that I use to say what I want to say with my paintings. When I can, I capture these moments with my camera. Working
from my photographic reference, I begin with a careful and detailed contour drawing. Once I begin painting, my technique is primarily wet on dry and relies on multiple washes/glazes of color to achieve the transparency and luminosity I desire in my work. Consequently, my process requires a great deal of time, and I relish the careful, unhurried pace needed to complete the work. This approach lends itself to capturing the desired expression and likeness of my subject. As I immerse myself in the painting, the memory of my initial encounter with my subject allows me the opportunity to revisit the connection that initially inspired me to want to paint them.
Rich From the Journey, watercolor, 15½ x 16" (39 x 41 cm)
The moment was fleeting when I took this photograph, but his gentle, timeworn visage presented a story and begged a painting. The image gave me the opportunity to implement important aspects of my painting vocabulary and technique. As interpretation is a critical aspect of my approach, the subject’s facial features, glasses and clothing allowed me to paint them as abstracted forms; a suggestion rather than a literal interpretation.
Sentient, watercolor, 14¼ x 15" (36 x 38 cm)
Dominique was a participant in a workshop I was presenting in Pont l’abbe, Brittany, France. One day, during my lecture in the studio, I suddenly became aware of the light and expression on her face. It was a moment—and with it I paused to take a couple of quick photographs. The resulting image was the inspiration for Sentient. In this painting, I gave careful thought to where I placed Dominique in the picture, making use of the composition to enhance and accentuate her expression.
Interrupted, watercolor, 18¾ x 18¾" (48 x 48 cm)
I am enamored by light and color. This image presented the opportunity to capitalize on both; each lending energy and emotion to the instant of my model’s expression. The ambience suggested by the directional light was staged in the photography. My purposeful “wet on dry” application of paint assures the purity of the accents of color that permeate the painting.
Was She Even Listening, watercolor, 13¾ x 18½" (35 x 47 cm)
I photographed Sylvia in my studio with large south-facing windows to her left. I was especially intrigued with the dappled light and shadow falling across her face, hand and shoulder and was intent on capturing that in the painting. The undulating red and yellow striped blanket provided an exciting foil to her sunlit skin and gesture—and the distant aspect of Sylvia’s expression suggested the title Was She Even Listening.