| The New York Optimist |
 |  |  |  |  |  |  |  |  |  |  |  |
| © MMIX, The New York Optimist. All Rights Reserved. The New York Optimist & www.thenewyorkoptimist.com is a registered trademark of The New York Optimist. The New York Optimist is a registered service mark of Thenewyorkoptimist.com. The New York Optimist logo and original photos are a registered trademark of The New York Optimist . All other photos are property of the advertiser. And are rightfully protected under their copyright protections. |
SHARE
| Gabrielle's Lamp Charcoal on Rag 2009 42" x 31" |
My work is to connect with the viewer by addressing issues of the human condition through portraiture of
myself and my family.
My current work consists of three different subject matters: my children, antique childhood toys and self
portraits. The self portraits have changed over the years, from being surrounded in white, empty space to
being surrounded by nature.
myself and my family.
My current work consists of three different subject matters: my children, antique childhood toys and self
portraits. The self portraits have changed over the years, from being surrounded in white, empty space to
being surrounded by nature.
I have named this particular body of work the “Sasquatch Series” to reflect both the physicality of the figure
and of my feelings while creating the drawings. I feel the drawings ask the viewer
to enter at their own risk.
and of my feelings while creating the drawings. I feel the drawings ask the viewer
to enter at their own risk.
The freedom I experience when I draw myself nude translates into a kind of hard honesty which is one of the
most important aspects of my work. In each piece that I create, I attempt to illustrate human strengths and
vulnerabilities. In the “Sasquatch Series” it is the perceived strengths of the lone Sasquatch that I sought to
portray.
most important aspects of my work. In each piece that I create, I attempt to illustrate human strengths and
vulnerabilities. In the “Sasquatch Series” it is the perceived strengths of the lone Sasquatch that I sought to
portray.
How I draw my children is different, the honesty is there, but it is their own honesty reinterpreted through my
hand and eye, often tinged with the sadness I felt at that age. I draw their vulnerability. This can be seen
through their expressions and states of dress.
I choose to draw them with minimal covering, in order to convey not only the beauty of the body but the
beauty of innocence. Because of their vulnerability, I have felt the need to protect them. I often choose
poses which confront the viewer; this is achieved by the gaze being met. The portraits of my children are
essentially self-portraits to be seen in conjunction with the Sasquatch pieces.
hand and eye, often tinged with the sadness I felt at that age. I draw their vulnerability. This can be seen
through their expressions and states of dress.
I choose to draw them with minimal covering, in order to convey not only the beauty of the body but the
beauty of innocence. Because of their vulnerability, I have felt the need to protect them. I often choose
poses which confront the viewer; this is achieved by the gaze being met. The portraits of my children are
essentially self-portraits to be seen in conjunction with the Sasquatch pieces.
For me, it is imperative to recognize this connection, to understand why I draw what I draw, to make it more
about healing than producing and to realize that I am today who I am because I have come to terms with my
childhood and not shut the door on it. My work is a kind of diary, a documentation of my life.
about healing than producing and to realize that I am today who I am because I have come to terms with my
childhood and not shut the door on it. My work is a kind of diary, a documentation of my life.
