You may notice as you view the galleries that there are many similarities between paintings found in the Portraits and Original Works galleries. It is not by mistake as it is the ambiguity that I am attempting to illustrate, the definitions and limitations of both that I seek to blur with my work. To me, The Absence of Wings is as much a portrait as Emily, and October’s Barn is as much a nude as Melissa’s Dream. It is not the subject matter as much as how you see it, not your expectations of it, but how you approach it. I believe if you look at something thinking you know what you’ll see, you may as well close your eyes.
My greatest love, my greatest challenge is painting people, a relatively simple notion, but one that has defined my life’s work and given it purpose. My earliest memories are not just of shapes and expressions, of light and dark or the texture and movement of hands, but of wanting to understand and reproduce them. As I have grown and matured as an artist, I have continually sought to deepen and expand my ability to not only capture one’s likeness, but one’s essence; a singular image that reaches beyond the surface of the canvas or the skin, revealing a greater truth and transcending the viewer’s familiarity with the subject. If you know the person in the painting, I want you to see them for the first time. If you are seeing the person in the painting for the first time, I want you to know them. This is the fine art, the portrait art, and the ideal I strive for.