oil on glass
A new kind of portrait commission.
Commission a unique portrait...
Today's portraits all look alike.
Can anyone distiguish between the painting styles advertised on the first page of a Google search? The irony is that this Information Age is supposed to connect us with all the variety our whole planet has to offer. No matter what artist you choose, make sure their portraits are in fact artistic expressions unique to them...not reproductions.
I call it "Aleatoric Realism."
Commission a contemporary portrait...
How are the styles of today's portrait artists relevant?
In the 1800's they were all realistic.
Later came impressionism, expressionism, etc.
More recently, abstract realism portraits.
But now it seems that too many of us artists—and clients—have become complacent with portrait art. What do they mean? What are they communicating? In fifty years what will they say about us...about the artist, about the subject...about the time and place we're in?
Commission a meaningful portrait...
There's a story behind everything we all do.
There's a story behind any artist's process. Mine are about co-opting nature in the face of automation and AI.
See the regularly updated history of my new and evolving oil-on-glass process.
This portfolio journal includes:
• high-resolution, uncompressed, 120cm × 120cm, 2500px, portrait images
• the original reference photos they're based on
• their greenscreen process images
After growing up in the Ozarks of Missouri, I found myself an itinerant artist for fifteen years. Here is an article on how all that changed, and why last year I decided to finally get online...
A New Direction in Portraiture
I've never been good at traditional portrait art.
Sure, I suppose I've learned how to "render"—that is, how to accurately depict the world. But, the traditional painters of the past were artists. Their "traditional" techniques and styles were, to them, modern techniques and styles. They invented ways of painting to communicate their realizations about the world. What to us is "traditional portraiture' was, to them, art.
Some artists may have learned to use the portraiture of the past to make meaningful art. But I know now—I have failed to do this.
So now, I've abandoned it. This past year I've been forced to do something new.)
"Maximalism" in the Front "Minimalism" in the Back
The canvas is a pane of glass.
On the front, oil paint. On the back, acrylic.
The portrait will be painted using each side of the canvas—but each side starting from the two utmost extreme poles of reality.
On the front, pure stochasticism, infinite complexity, pure randomness, infinite change. On the back, pure entropy. Also infinite complexity, but instead of pure change, pure un-change.
Ultimate maximalism balanced by ultimate minimalism.
The reason: to represent and (hopefully) reveal something about reality—specifically, our future.
To slowly alter the infinite complextiy painted on the front of the glass canvas, and to slowly alter it's polar opposite, the infinite complety painted on the back on the glass canvas. To find the portrait in the middle.