My realistic portrait paintings are large‐scale and attention‐grabbing, demanding the audience’s attention. I like to use shades of purples, blues, and greens in faces and bodies I paint in a way that isn’t immediately obvious to the viewer from afar. These colors seem to create a typical skin tone, but upon closer inspection the audience sees a spectrum of colors that they weren’t expecting. I like to layer images on top of each other in my portraits to obscure some features and highlight others. I want the overlapping areas to invite the audience to investigate the different parts of the image and to recognize the face in front of them.
I’m interested in how the brain interprets what the eyes are seeing and makes sense of a nonsensical image. In many of my portraits I change the original image of the face by separating, overlapping, and duplicating facial features. The result is interesting patterns and new areas of color that vary in saturation and translucency.