Hi Norbert,
I think your still lifes work much better than your portraits --- although, granted, I haven't seen the real surface, and that's one of the biggest elements in painting. From what I can glean from the paint handling, as seen in low res jpegs, the kind of traditional way of laying on strokes seems to resonate best with the objects.
All that said, the absolute best image I have seen from you, again I don't know the surface, is After the Protest, the one at the top above. For me, in it all facets work reciprocally --- subject, handling, composition and the hints of implied content --- and the shadow repeating the form of the face, revealing the source as a simple snapshot with flash. I mean, painting someone watching TV, and painting the TV image, in a rather straight-ahead, almost art school way, is just a wonderful visual idea. The handling and hints of snapshot work for me in it very metaphorically. Of what, I don't know exactly, but they seem to be a "fit."
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Hi Norbert,
I think your still lifes work much better than your portraits --- although, granted, I haven't seen the real surface, and that's one of the biggest elements in painting. From what I can glean from the paint handling, as seen in low res jpegs, the kind of traditional way of laying on strokes seems to resonate best with the objects.
All that said, the absolute best image I have seen from you, again I don't know the surface, is After the Protest, the one at the top above. For me, in it all facets work reciprocally --- subject, handling, composition and the hints of implied content --- and the shadow repeating the form of the face, revealing the source as a simple snapshot with flash. I mean, painting someone watching TV, and painting the TV image, in a rather straight-ahead, almost art school way, is just a wonderful visual idea. The handling and hints of snapshot work for me in it very metaphorically. Of what, I don't know exactly, but they seem to be a "fit."