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Critics Critiqued: November to December 2003 at Visage Eyewear, Portland, Oregon. |
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The concept: I paint portraits to capture human beauty because I am in love with humanity. Humans disappoint me, so I paint portraits in order to focus on what is heroic and lovely in humanity. |
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The gesture: Far from a random assortment of Portland dwellers, these thirteen represent a cross-section of the city’s art scene. All have opinions about art, and, with the notable exceptions of the bichon frisé and myself, the subjects each have a space in which to show work as well. They are my critics. |
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The beginning: I am a portrait artist. How do I get my work noticed by my critics? My portfolio contains only faces of family and friends--faces my critics cannot know. Though a portrait may be skillfully rendered, the only portrait that can sincerely captivate any given person is a portrait of that person. I will paint their portraits. |
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The risk: Portraits rarely satisfy their subjects fully. |
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The game: Can my critics remain professionally distant enough from their portraits in order to evaluate my work fairly? Do I want them to? Do I even expect them to try? |
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The anti-gesture: I asked more than these eleven and dog for twenty minutes and the permission to snap a few photographs. Why was my request denied by some and why did others humor me? An aloof or playful attitude? Genuine disinterest or equally authentic benevolence? A definite idea of how their actions would be perceived? Curiosity? |
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The portrait: It is a record of the subject and also of the artist. It asks the viewer to look again at the subject and at themselves. |
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The hustle: I want to paint your portrait. I am available for commissions. |
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| To learn more about the making of Critics Critiqued, please visit my blog. | ||
