I enjoy drawing people- more specifically, people who have had a great significancein my life, people whom I look up to, I care about, and I love. I believe thatthe most interesting information about a person and what they have and have notexperienced resonates in their skin. I believe that peoples facial features; whether it’sthe wrinkles that eventually form on peoples foreheads and cheeks from laughingand frowning, or the way skin under eyes seem to sag with age, these marksimbedded in peoples faces represent the roads of experience they have traveled.I find the process of people aging and the physical and emotional maturationprocess that accompanies it to be intriguing. I decided to focus on thephysical changes of people’s skin and facial features, along with the change inpeople’s personality and values, in relation to age. I attempted to capture oneexpression in each portrait that I feel represents that person at thatage. The expression embodies thesubject and allows the viewer to easily assume who the person is, what theperson cares about, what they are currently dealing with in life, howaccomplished that person feels, whether she is worrying about the safety of herchildren or if she is worrying about what color blouse she will wear to schoolthe next day. I enjoy looking at a portrait of a person and trying to relate tothe feeling that the subject in the portrait is experiencing.
Working on a four-foot by four-foot portrait with oilpastel, left my face an inch away from the massive paper I was drawing on. Upclose, each mark I made on the paper became its own abstract design, which thenmeshed with other different colored abstract designs to form an enormousconfusion of shapes and color. The whole face of the subject would not appearto me until I took ten steps back and the abstract shapes disappeared, morphinginto a persons face. This concept, the transformation of an image incorrelation to the distance you view it at, was what drew my attention toworking on such a large scale.