artist statement
I create paintings that evoke a series of emotions that range from awkwardness, to hysteria or disgust on the faces of young children. In my newest series, I focus on representing the darkness behind childhood. I am interested in twisting the perception of innocence in childhood, to give truth to the fact that children have emotions similar to adults. There is not always a sweet, innocent smile on their face. By referencing photographs from children I know and photographs of myself and family, I am working with familiar, even familial, narratives to give my paintings truth and realism.
The newest photographs I’m referencing are my family photographs. I chose pictures that displayed a non-innocence—whether it is displeasure or a downcast expression. The pictures range from the 1960s to the 1990s, displaying that no matter what decade or which individual, children can always display a darker side.
The technique I use when painting is a layering effect mostly displayed on the face. The face is painted layer after layer which gives a transparent look much like how skin naturally is. The paint in the hair is more thickly applied on to give more a flowing, textured look. Overall, in my paintings, I play with loose brush strokes, mostly defined in the face, to display disturbing facial expressions. The eyes on the other hand, have tighter brushstrokes to give them more intensity. The combination of both painting styles contrasts with each other to give the painting more dynamics. Lastly, the color palette chosen exaggerates the colors presented in a human figure.
The newest photographs I’m referencing are my family photographs. I chose pictures that displayed a non-innocence—whether it is displeasure or a downcast expression. The pictures range from the 1960s to the 1990s, displaying that no matter what decade or which individual, children can always display a darker side.
The technique I use when painting is a layering effect mostly displayed on the face. The face is painted layer after layer which gives a transparent look much like how skin naturally is. The paint in the hair is more thickly applied on to give more a flowing, textured look. Overall, in my paintings, I play with loose brush strokes, mostly defined in the face, to display disturbing facial expressions. The eyes on the other hand, have tighter brushstrokes to give them more intensity. The combination of both painting styles contrasts with each other to give the painting more dynamics. Lastly, the color palette chosen exaggerates the colors presented in a human figure.
