It's been a while since I've done a throwback post so I hope you enjoy this fun comparison of one of the first faces I painted as a professional artist to my most recent painting of a face!
Believe it or not I used to be terrified of painting people and faces in particular so I often stylized figures or just left their faces blank. The idea of a human face is so engrained into our brains that we can almost always tell if it is illustrated incorrectly by an artist. We can't always vocalize it but we can tell if there is something slightly off in the proportions. So this fear of failure prevented me from even attempting to paint people's faces for a while even though I loved looking at portrait paintings. More and more I was drawn to figurative art but was afraid of painting faces and failing at what I loved to do.
The painting on the right "Terra Firma" was one of my first real attempts at painting a figure while also including the face. I worked on this piece with caution and excitement because I was so entranced with the concept and vision I had in my head. I actually started this piece with the intention of NOT painting her face as to avoid the intimidation factor. But the more I painted the more I felt confident in my abilities and was willing to take the risk of illustrating the face in full.
The painting on this right is my most recent painting of a face. "The Giver" features a seamless double exposure portrait of a woman blended with the leaves, branches and sunlight that surround her. Even now when I am much more confident in my painting abilities I approach every piece with humility because every painting can be a new and unpredictable experience. I just feel thankful that my painting abilities are starting to catch up with the visions I piece together in my head. I truly love painting people because we instinctively connect with the person we see on the canvas and can use it as a way to reflect on ourselves.
I want to share this throwback image to show that inspiring ideas don't just materialize out of nowhere, they build over your years of hard work, risk-taking and sensitivity to your surroundings. In 2015 as part of my senior thesis as an art major I painted my biggest and boldest painting to date. I had grown into a relatively confident landscape painter but decided to jump into the unknown by incorporating these haunting figures traversing the landscape. This decision would completely shift the narrative of the piece and give me the confidence to create unique and risky paintings for years to come. I often think back to this piece and the distinct moment when I had finished the landscape portion and finally worked up the courage to start painting the figures. It actually felt like jumping off a cliff into the unknown, both terrifying and exhilarating.
So when people ask me how I come up with ideas for my paintings I try to express that I have been accumulating interesting concepts, images and emotions for years in my head without really realizing it. This allows my art to build on itself in a natural progression so that I don't feel lost in a sea of ideas. When you look at these two paintings side-by-side you can clearly see an improvement in technique while also seeing a distinct starting point for the concept. With each new painting I try to take a small but uncomfortable risk so that I always feel like I'm moving forward and trying something new.
I hope you enjoy this fun comparison between a painting from 2017 vs a painting in 2020.
As I've evolved into a figurative painter over the past few years its been hard to unsee a large disparity in this genre of art. Notably that the majority of figurative art focuses on women rather than men. And even more stunning is that the majority of paintings of women are painted by men. Now this branches into a much larger topic that I've discussed in my blog but I just want to sum it up in saying that as a figurative painter I want to do my best to represent all people. Since I started tentatively painting people several years ago I've made a conscious effort to specifically paint men. I do this even while knowing that these paintings on average don't sell as often as paintings of women. I do this because I hope to shift the norm in this regard and show not only that paintings of men are valuable and interesting but that they don't also have to be hyper masculine or show a "typical" version of strength. Artwork in general has an opportunity to show that men are multifaceted and complex creatures that are allowed to listen to their emotions.
I hope you see what I'm trying to accomplish in a lot of my artwork. In the years to come I am planning on pushing myself to paint more people of color as well as more people in the LGBTQ+ family.