My work is a kind of meditation, a
way I can slow down and appreciate our world, the people and the things in it.
The immense drive I feel when mid-way through a carefully rendered piece makes
my heart skip with excitement and passion.
The lines become alive and the textures and muscles in my subjects’
faces all spark to life, the ups and the downs over the monuments of the face,
I put myself in a position where I can feel
how the faces would feel in real life.
My drawings strive for reality, however, as I become more experienced within the technical field, I am learning that feeling for me plays an enormous role in the work I create. A feeling of friendship with the subject, feelings of wrinkles, pits and pours in a face. Feeling the scene alive, with the breeze lapping against a soft cotton shirt. And more recentely within landscapes, a feeling for the sense of scale, uniquness and myseriousness of the places I portray. Yet what inspires me most, is that experience is captured in an eternal picture both in paint/ drawing and in mind. Something has come from nothing which is the very essence of inspiration in itself.
My work can often seem very coherant with my belief system pschologically, and my outlook on life, however this is reserved only for those who know me well enough. I intend for my work to be taken in any way the viewer wishes. For an individual to look at my work and create their own unique stories in their minds inspires me, I find it interesting to hear their comments and their views. We are all winners, I create the piece which I would say is only 50% of the experience, then the viewer has the visual experience, hopefully causeing to question and to fit together their own jig-saw pieces. I don’t often however welcome in criticism, I think that this is the ruiner of all things good. Comments and advice, especially from similar fellow artists are great chances to learn, criticism however for me is an act one pursues when taking my work a little too seriously.
The most successful of my works seen and commented on by thousands, ‘Self Portrait of the soul’ , is a pencil portrait, mixed with qualities of an old chariscuro painting and a photorealistic relationships to the modern works of Armin mersmann. The story I had to tell was enourmous, the first piece I felt I had to finish. Inspired by the textures of J.D Hilberry, Armin mersmanns compositions and techniques and my own idea, I created the first piece that I would call an artwork. Time spent creating these realistic drawings can vary from 2 week to nearly a year. I chose to represent this piece in this way as is best reflected my inner feelings during that period. I believe the black and white works well also to help create mood. I wanted to create a portrait of how I felt rather than how I looked.
As I stant today, I rely too heavily upon photographs, usually taking my own, then gridding up th image before recreating in pencil over many months. By working from photo’s I am missing out on the relationships with the sitter, the constant flow and changes of mood, atmosphere and body changes. I am also working from 2d to 2d. in the future I wish to work from a mixture of life and imaginations, like the painters of old.
Currently I am still very much a beginner when it comes to technical skill in the realm of realism. I lack the neccissary skills to create the visions I see within my mind. Over the next few years I wish to broaden my knowledge and understanding of colour, anatomy and painting techniques, as up until very recentely I have been involved within pencil work.
My drawings strive for reality, however, as I become more experienced within the technical field, I am learning that feeling for me plays an enormous role in the work I create. A feeling of friendship with the subject, feelings of wrinkles, pits and pours in a face. Feeling the scene alive, with the breeze lapping against a soft cotton shirt. And more recentely within landscapes, a feeling for the sense of scale, uniquness and myseriousness of the places I portray. Yet what inspires me most, is that experience is captured in an eternal picture both in paint/ drawing and in mind. Something has come from nothing which is the very essence of inspiration in itself.
My work can often seem very coherant with my belief system pschologically, and my outlook on life, however this is reserved only for those who know me well enough. I intend for my work to be taken in any way the viewer wishes. For an individual to look at my work and create their own unique stories in their minds inspires me, I find it interesting to hear their comments and their views. We are all winners, I create the piece which I would say is only 50% of the experience, then the viewer has the visual experience, hopefully causeing to question and to fit together their own jig-saw pieces. I don’t often however welcome in criticism, I think that this is the ruiner of all things good. Comments and advice, especially from similar fellow artists are great chances to learn, criticism however for me is an act one pursues when taking my work a little too seriously.
The most successful of my works seen and commented on by thousands, ‘Self Portrait of the soul’ , is a pencil portrait, mixed with qualities of an old chariscuro painting and a photorealistic relationships to the modern works of Armin mersmann. The story I had to tell was enourmous, the first piece I felt I had to finish. Inspired by the textures of J.D Hilberry, Armin mersmanns compositions and techniques and my own idea, I created the first piece that I would call an artwork. Time spent creating these realistic drawings can vary from 2 week to nearly a year. I chose to represent this piece in this way as is best reflected my inner feelings during that period. I believe the black and white works well also to help create mood. I wanted to create a portrait of how I felt rather than how I looked.
As I stant today, I rely too heavily upon photographs, usually taking my own, then gridding up th image before recreating in pencil over many months. By working from photo’s I am missing out on the relationships with the sitter, the constant flow and changes of mood, atmosphere and body changes. I am also working from 2d to 2d. in the future I wish to work from a mixture of life and imaginations, like the painters of old.
Currently I am still very much a beginner when it comes to technical skill in the realm of realism. I lack the neccissary skills to create the visions I see within my mind. Over the next few years I wish to broaden my knowledge and understanding of colour, anatomy and painting techniques, as up until very recentely I have been involved within pencil work.
