Haeley in White Fur

Here is a dichotomy. Do the bars of the chair keep the viewer from this beautiful woman, or do they imprison her? The white of her fur coat opposes the black of the bars, restating this theme of duality. I'm happy also that I was able to limit my palette, as too much color would have detracted from the concept.

click here to bid

oil on linen panel, 8 x 6 inches, 2009

#24

Caught in Reflection

This is a slightly older painting of Kelsey, a model I worked with a lot before she went to college. The somber mood left me with some ambivalence, but a number of people have commented on it in the studio so I decided to post it. I have always been interested in pictures within pictures, because it seems to be a built-in way to reflect upon the process of image making and how images function in our world. This seems especially true when the secondary image itself is a reflected one, as it is in a mirror. We are all familiar with Velazquez' Las Meninas, and its examination of the nature of perception. Manet's A Bar at the Folies-Bergere is another enigmatic work that has had an influence on me.

click here to bid

oil on linen panel, 5.75 x 5.75 inches, 2009

#23

Shelbie

Shelbie came in with an astounding collection of vintage dresses and accessories. She is a unique person who seems to emanate an air of wholesomeness. However, in this painting the mood is rather dark. I need to think about why I chose to represent her thus. I hope to work with her again, and seek her brighter side.

click here to bid

oil on linen panel, 8 x 6 inches, 2009

#22

Kristin Criss-Crossed

I have long been interested in the fundamental ways in which the figure has been represented in Western art. One way has been to represent it in a frontal, vertical, and somewhat symmetrical manner. This was typical of the Geometric period of ancient Greek art. It was also typical of medieval art. Another way has been to represent the figure more naturally, as in the Classical period of Greek art and again in the Renaissance. These two approaches express ideas about how the respective cultures understood their world. One approach suggests other-worldliness, the other approach suggests rationality and an engagement with the world. I often weigh both approaches when I pose the model. Here Kristin raises and crosses her arms directly above her head in a formal gesture. At the same time, we see her in three-quarter view, as opposed to frontally, thereby bringing both world views into dialogue.

click here to bid
oil on linen panel, 8 x 6 inches, 2009
#21

Sub Rosa

The opening of the blouse forms an X-shape, which both hides and reveals the figure within. The muted light illuminates what little we know about her.

SOLD

oil on linen panel, 8 x 6 inches, 2009

#20

Jordyn in a Straw Hat

There is an impish quality to this gesture that seems to befit Jordyn. The straw hat, which I found at the Salvation Army, adds to the comical feel of the piece. I'm not sure if the string of pearls fits the theme, but I liked how they worked into that space and rhymed with the shape of her arms.

oil on linen, 8 x 6 inches, 2009

#19

Naomi with a Rope

The inspiration for today's painting came from a magazine photo where a woman was pulling back a curtain to look out a window. In the studio, for some unknown reason, I decided to hang a rope from the ceiling and have the model hold it rather than a curtain. I suppose the rope lent a certain mystery, which turned out to be apropos to Naomi. She modeled for me only once. She was smart, enthusiastic, and fun to work with. I looked forward to more sessions with her, but unfortunately I could never get her to return. I'm still hoping I'll have another chance someday.

oil on linen panel, 8 x 6 inches, 2009

#18

Ashley in Red

Ashley is lying back in an old recliner. Her striking red dress would have been compromised by the maroon color of the chair had I not placed the white lambskin between them. The view is from slightly above. A more level view would have again offered too much red chair in a painting that is very red already. I used to take studio naps in that recliner until one day it collapsed with me in it. I'm still looking for a replacement.

oil on linen panel, 8 x 6 inches, 2009
#17

Kristin

Here I was interested in the complexity of the interlocking arms. I saw a photograph somewhere with a similar gesture, made some sketches from memory, and thought it would be straightforward enough to get the model into that pose. However, it wasn't so easy. I tried with several models and couldn't achieve the elegant complexity I was after. Not everyone is a contortionist, I guess. Kristin, though, made it work. She also has some very beautiful dresses. This one was metallic and sleek, yet sophisticated.

SOLD

oil on linen panel, 7.75 x 5.75 inches, 2009

#16

Figure from the Back

There was an oddness about this pose that caught my interest. I thought the interior modeling of the back was especially lovely, but initially found the arms somehow unsettling. I finally realized that they made me think of the Greek and Roman marbles from antiquity that somehow lost various appendages over the centuries. I decided I liked it just the way it was. I also liked how her blouse fell on the table upon which she sits, particularly where the sheer fabric passes over the red velour drape. This particular model is especially graceful and I anticipate working with her again soon.

oil on linen panel, 8 x 6 inches, 2009

#15

Kelsey

Kelsey is a wonderful model with whom I've worked quite a bit. Her wardrobe was always simple but classy. I liked the little touches of red within the green shirt, and she looked great in the white frame sunglasses. She is away at school now but I hope to work with her again at some point.

oil on gesso panel, 6 x 6 inches, 2009

#14

Haley

Haley is a very young model, but she is a natural. Every pose she takes is worth painting. Here I was attracted to the rhythmic shapes of the arms, offset by her innocent face with its dreamy gaze. Her charming bracelet was the right touch to break up what otherwise might have been a too insistent forearm. The vivid magenta of her shirt was a challenge to capture, but I think I came close.

SOLD

oil on gesso panel, 6 x 6 inches, 2009

#13

Ashley in Oval Mirror

It's Halloween and while I wouldn't call this painting scary, I like to think it is a little haunting. In the mirror Ashley seems to be casting a sidelong glance, quite different from what one would expect from her profile view. The corner of the old trunk in the lower left is a repoussoir device that leads the viewer deeper into the space of the picture. Ashley is another model that I would like to work more with but she has moved away.

SOLD

oil on gesso panel, 6 x 6 inches, 2009

#12

Amber in Profile

Amber has the most incredible long red hair, and I really wish I could work with her more often. Her career makes that difficult, but I think there might be an opportunity coming soon. Here I was mostly interested in her delicate profile. I slightly exaggerated the contours of her shoulder for interest. I also like the series of parallel diagonal lines created by the locks of her hair, the strap of the dress, and the arm on the right. In simple compositions like this I enjoy looking for these kinds of structural elements to make the design hold together.

SOLD

oil on gesso panel, 6 x 6 inches, 2009

#11

Sara in the Window

In this painting I was interested in the silhouette of the figure against the midday light of the window. After the initial impact of this strong contrast, some of the details of the figure begin to emerge. In addition, I have always been interested in sheer fabric draped over the figure. Here the sunlight breaks forcefully through her flowing blouse. In the window I tried to use some stippled brush work to indicate that it was in need of cleaning. The building behind is the Ferndale post office.

SOLD

oil on linen panel, 8 x 6 inches, 2009

#10

Clare with Arrow

I've worked with Clare a lot over the last couple of years. She has modeled for a number of my larger compositions. She has a remarkable ability to understand and imaginatively interpret my intentions for a given pose, even when I don't fully understand them myself. Perhaps it's because of her stage experience. Clare somehow brings a unique body language and facial expression to each idea I present her with. Here she forcefully thrusts her arm out perpendicular to her body, while keeping the clutched arrow parallel to it. Her gesture captures perfectly the aggressive theme of the painting. I felt that the treatment of the background also fit the theme. The arrow predates recorded history and is rich with meaning in many cultures.

SOLD

oil on linen panel, 8 x 6 inches, 2009
#9

Jordyn with Pearls

Jordyn has a wonderful vintage clothing collection, as evidenced by this fur stole. The hat, however, is contemporary. I thought it was perfect for this over-the-shoulder, Vermeer like composition. When this painting was dry I applied a thin glaze of crimson to her lips to slightly pronounce their color. I also used a touch of cobalt to hint at her deep blue eyes. Jordyn, by the way, is herself quite a talented artist.

SOLD

oil on panel, 6x6" inches, 2009
#8

Elly in Stripes

I couldn't resist the stripes. This is actually a dress, and she looks quite striking in it, but I felt that all those stripes in a painting might be too much. The cropping allowed for a zigzag movement through the arms that finally focuses on the face. If you study the pattern of her dress you will notice that it is subtly complex, consisting of not just black and white, but also two shades of gray. Elly is a gifted model, in part because she requires little direction. She seems to naturally find inventive yet elegant gestures.

SOLD

oil on gesso panel, 6x6 inches, 2009
#7

Tiffany's Reflection

The idea for this painting occurred unexpectedly near the end of a modeling session. Tiffany was starting to gather up her things when she happened to pass by the mirror. It was one I had just picked up at a yard sale, and looked like it might have come from Pottery Barn. I enjoy looking over her shoulder at her warmly lit face. With the clutter of the studio in the background, this composition is less controlled than others. The two light spots to the left of her head are metal brackets that support wooden shelves. I noticed how they were reading with the unfurling of the buttons on her blouse, and felt that together these two elements helped focus the composition.

SOLD

oil on gesso panel, 6x6 inches, 2009

#6

Sara in a Round Mirror

I've worked with Sara a lot, and she is very good at taking a pose suggestion and bringing ideas to it. I liked how she clutched the drape behind her back, putting herself between this somewhat ominous gesture, and her reflected image, which is of course an illusion. I thought the roundness of her bob hairstyle worked well with the round mirror.

SOLD

oil on gesso panel, 6x6 inches, 2009

#5

Bayley's Mood

Bayley's face is always expressive. Here she takes on an irresistible melancholy. I'm reminded of Raphael's Cherubini, overexposed as they are. But this pose was inspired by another source, the origins of which I don't recall. I often see an interesting image in a magazine or some other source, make a quick sketch or mental note, then develop it back in the studio with further sketches. When I have a model come, we cycle through a lot of these ideas. Then I do the same thing with different models until I find something that I want to paint.

SOLD

oil on gesso panel, 7x5 inches, 2009
#4