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

Ashley Holding a Carnation

Ashley has a great sense of style and always brings wonderful wardrobe and accessories selections to the studio. I liked the simple brown dress and the complementary wristband. I used the horizontal of the floor and baseboard in this composition to anchor the vertical mass of the figure and at the same time echo the outstretched arm. The sunlight shapes on the wall help integrate the figure to what would otherwise be too much empty space.

SOLD

oil on gesso panel, 6x6 inches, 2009

#3

Haeley Prone

Another pose with Haeley, again concentrating on the play of negative spaces, especially between the arms, in the shadow area. I was also interested in the undulation of the contours of the figure in relation to the horizontal line behind her.

SOLD

oil on gesso panel, 5x7 inches, 2009
#2

Haeley Sitting

This is one of two paintings from a recent modeling session with Haeley. In this one I was mostly interested in the negative spaces within the pose. Please email cpompilius@sbcglobal.net for purchase for purchase information.
SOLD
oil on gesso panel, 6x6 inches, 2009
#1