Memorial: The Portrait Series #1

I can't even remember the last time I tried to paint a specific face. I've drawn loose portraits here and there and regularly paint somewhat abstract representations of humans in general, but the face is something I often obscure, usually leaving just the eyes to connect with.

I don't think it's an aversion to emotion, but rather, a face done wrong evokes strong, potentially incorrect emotions, and I usually aim for a more openly interpretable overall atmosphere. As with a lot of my painting, I don't like making the message extremely overt, favoring one that allows the viewer to find a bit of their own selves and feelings, despite what I may intend. 

Lately I've wanted to dive into an expressive portrait series along the lines of Alice Neel or David Hockney; Portraits that resemble the sitter but aim to address personality rather than realism. 

With my first portrait, Memorial, inspired by the recent unexpected death of an older cousin, I tried to bridge the gap a bit. As a literal memorial the painting needed to carry a more somber tone, and the sitter had to be somewhat identifiable, but I didn't want to pull out techniques or styles too foreign to my usual oeuvre. 

The result is a much more defined image of a person, hints of resemblance and, to those that know, some inspiration from a well-loved decades-old photo. I also managed to squeeze in some of the flora forms I've been playing with extensively, as well as contours and shapes used extensively throughout my recent painting series.

While not a complete departure from my usual painting habits, this painting was a bit outside my comfort zone.

That said I really enjoy some of the connection I see to one of my all-time favorites, Cards with Ghosts, from the Pandemic Painting series. The deep hues offset a few moments of pinks and oranges that immediately draw you to those areas with the entire setting dominated by a figure whose gaze is impossible for the viewer to escape. The dark blues make the space feel saturated and heavy, while hints at form and luminosity from transparent layers create a sense of depth that envelopes the subject and brings the viewer into the scene. 

After a quick and energetic start, and a much brighter palette, the paintnig sat untouched for three full months. Once I painted the background a mixture of blues and blacks, inspiration struck and finishing the painting took just a few more days. 

Though I'm not 100% sure the painting is done, I think I'm going to let it sit for a while. There's a few minor touch ups I'd like to do in the form of the face and eyes to drive home that stare...but otherwise I am really enjoying how this came together and am excited to continue the portrait series, perhaps with a lighter subject matter next time around.