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We Are Not Privy & Women's Best Friends Series
In Private Art Collections

Venice We Are Not Privy #3.tif

"We Are Not Privy" Piazza Venice Italy

 

My representation of the figure has been informed by studio life drawing and by a knowledge of anatomy and psychology gained through careers in surgical and psychological fields.  I want the viewer to see what I have seen, to think about the person and their situation rather than let pure representational poses close down possibilities. 

 

Gestures, body language.... a moment in time are meant to remind the viewer of some of the subtleties in life.

Placing the image in a space defined by color but void of background objects presses the viewer to focus on the person or his/her situation.

 

Previously, the contemporary combats played out between men in athletic competition previously lent themselves to my goal of using art to remark publicly on the some of the complexities of life and our culture.  The body of work, "Women's Best Friends", concerned itself with the relationships between women and their often beloved dogs. This series  was the extension of The Women's Best Friends  its source was a piazza in Venice Italy where Sunday crowds were gathered.

 

Rendered in the same palette as my earlier paintings, once again the viewer is invited to reflect on the person and his or her situation through the immediacy of the images. 

 

The subtlety of human nature, psychological ambiguity, and a sense of timelessness continue to be the inspiration for this series.

Women’s Best Friends Archive
In Private Art Collections

Womens Best Friends Statement

Artist's Statement: "Women's Best Friends"

 

The contemporary combats played out between men in athletic competition previously lent themselves to my goal of using art to remark publicly on the some of the complexities of life and our culture. 

 

The body of work, "Women's Best Friends", concerned itself with the relationships between women and their often beloved dogs. 

 

Rendered in the same palette as my earlier paintings, once again the viewer is invited to reflect on the person and his or her situation through the immediacy of the images.

My representation of the figure has been informed by studio life drawing and by a knowledge of anatomy and psychology gained through careers in surgical and psychological fields.  

 

I want the viewer to see what I have seen, to think about the person and their situation rather than let pure representational poses close down possibilities. 

 

Gestures, body language.... a moment in time are meant to remind the viewer of some of the subtleties in life.

 

Placing the image in a space defined by color but void of background objects presses the viewer to focus on the person or his/her situation.

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