WSA-32

This painting is of a young woman named Christina. It was her hat that caught my attention. What I like about this image is the subtle duality of both the pose and the facial expression. The first is a slightly defensive posture, with the arms folded and the stance is very strong, even defiant. The face on the other hand, has this innocence and vulnerability to it that is so beautiful and sweet.
There is still some work that I want to do to the painting to make it complete but I wanted to post this for my Niece who has been very interested in seeing it since I described it to her back in August. So, Nikki, here is the painting. Hope you enjoy it.

"Maggie"

"Maggie"

This painting is called "Maggie". It is a small portrait of a young girl who is the daughter of a friend of mine. The pictures capture the moments during the painting session. The surface is an old painting done as a demonstration, which I usually turn upside down so not to get confused as I start the new painting. The reason I like to do this, is the random colors that peak through while the new painting is being developed. Many of these random sections of the other painting will be there in the final image. It is a way to get something that I would not ever get any other way. 

Getting ready to start

You can see the old painting behind the new one

Me and Maggie

Middle Stage of the portrait

New Painting-A portrait of Eugene O'Neill

This portrait is of Eugene O'Neill and is my newest painting. It was initially conceived to be part of a group of paintings about New London that will be on exhibition in March 2011. Currently it is part of a tribute to O'Neill on the Drunken Boat website (issue 12) called "Celtic Twilight" www.drunkenboat.com/db12/.  I took several images as the painting progressed and wanted to include them as well as the finished painting.

Here is the statement used for the website and explains my intent for this image.

In this Portrait of Eugene O'Neill, I wanted to convey the idea of duality. In theatre, this duality is symbolized by the Comedy/Tragedy masks of ancient Greece, and in choosing O'Neill, one the nation's most beloved writers and himself a symbol of theatre, this idea of duality now becomes in part, a reinterpretation of those masks. The image of two opposing emotions transposed one atop the other generates a sense of discomfort and uncertainty in the viewer and in many ways will challenge people's preconceived notions of that symbol, our own duality, and how we want to imagine Eugene O'Neill to be. (The smile, by the way, is his own.) Continue to see the painting develop.

American Artist-March 2010

Here is the article in American Artist-March Issue. I am very pleased with the way the magazine portrayed the artwork. I also wanted to thank my friend Dean for writing the article.

Sketchbooks

A look back

I wanted to take a stroll down memory lane to give myself and anyone else who might be interested a look at where I was with my paintings and where I am trying to go. In the immortal words of Mr. Bob Dylan " I never want to think I have arrived, that would be death" or something like that. Anyway, it really means (to me) that I have known where I wanted to go and I might at times think I have gotten there, but just as that thought comes to mind I am already considering something else.

The paintings that begin this particular section are from 1995 just a year after I moved to New York City and the time which I decided I wanted to pursue fine art as opposed to Illustration. I am selecting the major landmark paintings that seemed to be specific to any shift in direction and the range of paintings will go into 2009.

The Decision-1995

This painting is probably the most significant painting in my early career. I had just moved to New York City and

Pal