Untitled #134

Untitled #134

24" X 36"

Charcoal on Paper

2013

The model here is a perfect fit for my angular definition of shape. Given the tendency of the female form towards curvature; it's a rare gift to have a model that defies that.

I often work on large 24" X 36" sheets of smooth newsprint for shorter poses which forces me to work relatively fast as there is so much ground to cover. This was only a 20 minute pose from life, so it's a bit of a physical task to work quickly enough to get a satisfactory representation at that scale within the granted time frame.

Untitled #31

Untitled #31

24" X 36"

Charcoal on Paper

2013

Back poses can present a challenge in that they can lack any area of interest oftentimes. I was lucky in this 40 minute pose to have something visually to hook on to; the model's scapula bones. She put her hands atop her head and all the torsion and tension related to the muscles that articulate with the scapula bones just popped right out. 

Most models don't exhibit this kind of bravado for longer poses - as it's easy to imagine the strain after a short time. So this was a really rare opportunity to witness this region in prolonged action.

Untitled #183

Untitled #183

12" X 16"

Oil on Canvas

2013

This painting from life was a 3 hour pose completed at a Catalyst workshop in Westminster, CA. The profile is typically thee most graphic of all portrait positions. It lends itself well to an angular way of working. 

The "knickerbocker" canvas manufactured by Fredrix is a good surface to work on in terms of it's ability to preserve sharp edges. Granted a lot of canvas surfaces do this well, but the thing I was most impressed with was that the paint sinks in just enough while working Alla-Prima so that you don't encounter any kind of significant "railing" on either side of a moderately loaded brush.  

Untitled #119

Untitled #119

24" X 36"

Charcoal on Paper

2013

This 40 min. pose from life worked out well in that the model displayed a nice shift between the head and torso directions. The models quiet and stoic expression lent itself well to the rigidity in his posture. This is no slouching pose.  

Ellipses, Spheres, and circular shapes are where my particular working attack of segmentation becomes the most evident, as in the oval shape at the bottom of the stool. It's very polygonal*, or as some would say; faceted.

*Polygon: A closed planar path comprised of a series of straight line segments. 

Mt. San Jacinto Study

Mt. San Jacinto Study

22" X 30"

Charcoal on Paper

2013

If you have ever been to the Palm Springs area in California it's hard not to be impressed by Mt. San Jacinto. It's an imposing mountainous jut of earth. It is the sheerest mountain face in America according to some sources. Which means it's steep and tall like no other. 

It's a constant visual influence living in this area, and has no doubt had more than a little to do with the way I approach my work - whether overtly or subversively. Living here, it's difficult  not to be infected by it's dynamics.

I've had the good fortune to live in a house once occupied by the (now) famous artist Agnes Pelton, and as she once wrote, “Hail San Jacinto!”.

Untitled #194

Untitled #194

24" X 36"

Charcoal on Paper

2013

This was a 40 min. pose from life done at the DA Center in Pomona, California. It was nice to have the extra time to draw out the chair and complex interaction of shapes around her hands and feet. I feel compelled to articulate the surroundings if time allows and I think it will add something needed.

Untitled #16

Untitled #16

22" X 30"

Charcoal on Paper

2013

This was a two hour pose done on Stonehenge paper from life. It's a quality paper to work with, although it's surface qualities are quite delicate. 

Past a certain insubstantial point it's nearly impossible to make any significant alterations without impairing the tooth of the paper. It's feels like you're working on the skin of a grape with a stone brush sometimes.

The models features easily fit with my working style though. Her Zygomatic Arch (cheekbone) was a strong geometric shape to visually latch on to.  

First Post: Untitled #74 (Sold)

Untitled #74 (Sold)

24" X 36"

Pastel on Matboard

2012

This piece is a good representation of my working approach to start with. The Matboard is a fairly unforgiving surface to work on so I would practice each stroke several times just above the board before committing. This helped lend confidence to the choices made.

As you might be able to tell, I have a pretty deep affinity for a well placed bold and confident stroke in any medium. "Concision in description" is a desired goal as well. To explain the most with the least.