Since closing down Better, I have finally found time to go back to my Faces series. To see the start of the series, click here for Face 1, Face 2, Face 3 and Face 4. This series explores men’s faces using colour to sculpt the contours and reflect emotion.
This painting turned out looking vulnerable, some combination perhaps of the exaggeratedly large eyes, the relaxed mouth or the neutral expression. The young man is quietly self-possessed, but open; not defensive.
This painting combines my favourite colours – yellow, pink and gold (not so visible in the photo) – grounded with sienna shades.
Face No.5: Vulnerable is painted in acrylic paint on a 50cm x 50cm stretched canvas and finished in gloss acrylic canvas. It is not framed.
This face was inspired by a picture in Germaine Greer’s wonderful book, The Boy. The Boy is well worth a read, especially for mothers of sons in a world where there is so much focus on daughters. The beautiful illustrations (paintings and photographs) are a wonderful source of inspiration.
I liked the picture for its combination of angelic beauty with a direct challenge. I call the painting Sullen because it is a look I have seen on so many young men at that point where they stake a claim for independence. It seems to say “I am not who you want me to be; I will be my own person.” The refusal to participate comes across as sullen.
This picture combines reds and blues to create the pinky-purple tones with a little yellow and sienna for warmth.
It is painted in acrylic on a gallery wrapped canvas and is finished in a matt acrylic varnish. At 40cm x 40cm it is a little smaller than others in this series. It is ready to hang.
This painting is based on photographs of Michael Stonebraker published in the Communications of the ACM (June 2015) at the time when he was awarded the ACM Turing Award for his contributions to Computer Science.
I think he has an interesting face. Ageing, not symmetrical, but with the kind of confidence that comes from doing worthwhile work. I have taken liberties with the specifics of shape and proportion, exaggerating the diamond shape of the face. The kindly eyes become the focus.
The colours include bright crimson, phthalo greens, both deep and light, and a rich magenta that becomes lilac when mixed with white. There is a fair amount of sienna in there too, also lightened with white. I love the way layers of colour sculpt the contours of the face creating the impression of lines, where there are none.
Face No.3: Kindly is painted in acrylic paint on a 50cm x 50cm stretched canvas. It is finished in gloss acrylic varnish.
This portrait is based on a picture of a worker in an Italian monastery, published in an old edition of Du.
I love this man’s pronounced smile lines and there is something open and trusting about his large dark eyes. But at the same time he seems a little apprehensive, with his head bent a little forward and some hesitation about his smile. I called him mischievous because I think he has a naughty streak. Behind the innocent look I can imagine him planning a practical joke.
The original picture was black and white, so I had fun inventing the skin tones using shades of ochre and sienna with touches of a dark phthalo green.
This portrait is painted in acrylics on a 50cm x 50cm stretched canvas. It is finished with gloss acrylic varnish. It would need to be framed for display.