The Portrait Project

A few years (quite a few, actually) I decided to start a project that I referred to (in my mind) as "One Hundred Portraits." After the first dozen or so, I decided it was just "the Portrait Project."

The goal was, loosely stated, to do a portrait of everyone I knew. Talk about a never-ending task. Regardless, I've completed around 50 (give or take).


Last fall my good friend Leo Wesson, who I've known and worked with for over 30 years, came over and shot a massive number of works on paper for me on his digital camera. Among the stuff he shot were most of the portraits. After much screwing around, I've finally posted my favorites on the Ralph Art website.

The pieces that comprise the project follow a fairly standard format: all are more or less mug-shots, and are on 22 x 30 rag paper. Not all are paintings; quite a few were done as drawings.

It's been fun, and I'm certainly not finished (I meet new people every day), but only a few people have seen them, and usually only a handful of the pieces at that. If you know me, you probably know quite a few of the people in these works.

A big thanks (again) to Leo, who made this possible.

Enjoy!

50 First Dates vs. Same Time, Next Year

A friend, responding to a recent Twitter post, asked me the difference between the mindset of working in acrylics vs. working in oils. Before I start, let me say I've worked in both, and both can be very satisfying -- so this is not an endorsement of one over the other.

The short reply I gave was that acrylics were 50 First Dates, and oils were Same Time, Next Year.

In 50 First Dates, the character of Drew Barrymore has no memory of the day before, placing considerable challenges on Adam Sandler, who is courting her. Likewise, with acrylics, the paint is dry in an hour; there is no direct interaction between each layer of paint. Once the water evaporates, you're done.

Which can be good, especially for smaller pieces. There is a clean freshness to working in acrylics; you can (almost immediately) overpaint without having to think about how underlayers are going to react. I tend to work in layers of thin transparent paint, building up layers and gradually working more thickly.

The movie Same Time, Next Year chronicles a 24 year affair, consummated once a year. And so it is with oils: nothing is every truly forgotten. Each time you take the brush up you continue the previous conversation. Your past is always waiting to catch up with you.

You can go back in and rework, remove and repaint anything. On the other hand, doing too much results in a jumble of mud. Many's the time I've gone in after a session, disgusted with the day's output, and wiped it down with a turpentine soaked rag. I've done this to work I've done two weeks ago.

The funny thing is, it is not really erasing. A ghost of what you did, what you learned and how you failed remains: to haunt you, to guide you. And that layer of wiped paint somehow retains some sort of psychic energy. Some of the best painting I've ever done was on top of a wiped down canvas.

As acrylics dry, they become sticky, and impossible to rework. Because they are water-based, they more strongly resemble working in watercolor or gouache. Most (not all) of my acrylics are works on paper.

Oils continue to be slick and workable for a long time (unless you use an alkyd painting medium). Because of the longer drying time, one has to consider thinking of how to manage the paint layers. With enough turpentine, you can work back into almost any paint film, whether you intend to or not.

Not sure if this answered any questions, but if all it did was generate more questions I've succeeded on one level.