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The entire body implies movement and emotion, but there are various ways to communicate with just the face as a tool that remain equally forceful. The face contains all the elements of emotion and movement as well as personal history. There are numerous muscles in the face; just five facial muscles provide the possibility for 10,000 variations of emotions and implied movements. I use the face for an articulation of a subtle, yet distinct emotion and slight movement. The stories that are being told have only the wrinkles and scars as a guide; it becomes a map and a history of the person’s life and how that life treated them.
If a person smiles or frowns, if one facial activity is more dominant, it will become apparent in the wrinkles. If someone has been punched in the face, hit with a hobo’s harmonica in a box car brawl over turf or their teeth were used to slow down a 75 Ford pickup after an evening of Wild Turkey shots to forget Her. It is important to remember that it is rare if one receives scars from being happy, even if the person is a happy person.
The use of subtle washes and color help amplify the large and imposing size of the works. The paintings are executed in a similar manner to drawing. The works contain simple subject matter, drawn with paint. The palette is a tetradic color contrast scheme that pushes distinctions of warm and cool.
The painting and the rendering can’t be mentioned without the size of the work. The 5x7,7x9, 4x4 feet canvas are grommeted at the sides and corners and tacked to the wall without stretcher bars. The largeness, coloring and the expression of the work, causes a daunting and imposing feeling for the viewer. Like being attacked with a calm subtlety.
