......................................................................................................................................................................................................................
Tony

Tony

watercolor and oil on paper

47" x 57"

2014

 

My current project uses the inherently relational nature of painting portraits to explore the defensive presumptions I bring to interactions with men.  As a way to confront, complicate, and question my belief that most men I know want to have sex with me, I invite male friends and acquaintances into my studio to sit for a portrait.  Portraits are intimate. They involve prolonged eye contact in a closed space with lots of looking- things I have avoided in the past so as not to “give the wrong impression.”  By beginning each sitting with an explicit discussion of the premise, both sitter and artist are forced to confront our own assumptions, desires, and fears.  All participants, including myself, are implicated in the results.

Positioning these men as "subjects" further complicates the power structure between "artist" and "subject" and the role of the gaze in painting.

 

Gerry.jpg
Suje

Suje

watercolor and oil on paper

48" x 36"

2014

 

My current project uses the inherently relational nature of painting portraits to explore the defensive presumptions I bring to interactions with men.  As a way to confront, complicate, and question my belief that most men I know want to have sex with me, I invite male friends and acquaintances into my studio to sit for a portrait.  Portraits are intimate. They involve prolonged eye contact in a closed space with lots of looking- things I have avoided in the past so as not to “give the wrong impression.”  By beginning each sitting with an explicit discussion of the premise, both sitter and artist are forced to confront our own assumptions, desires, and fears.  All participants, including myself, are implicated in the results.

Positioning these men as "subjects" further complicates the power structure between "artist" and "subject" and the role of the gaze in painting.

Michael-watercolor.jpg

Tony

watercolor and oil on paper

47" x 57"

2014

 

My current project uses the inherently relational nature of painting portraits to explore the defensive presumptions I bring to interactions with men.  As a way to confront, complicate, and question my belief that most men I know want to have sex with me, I invite male friends and acquaintances into my studio to sit for a portrait.  Portraits are intimate. They involve prolonged eye contact in a closed space with lots of looking- things I have avoided in the past so as not to “give the wrong impression.”  By beginning each sitting with an explicit discussion of the premise, both sitter and artist are forced to confront our own assumptions, desires, and fears.  All participants, including myself, are implicated in the results.

Positioning these men as "subjects" further complicates the power structure between "artist" and "subject" and the role of the gaze in painting.

 

Suje

watercolor and oil on paper

48" x 36"

2014

 

My current project uses the inherently relational nature of painting portraits to explore the defensive presumptions I bring to interactions with men.  As a way to confront, complicate, and question my belief that most men I know want to have sex with me, I invite male friends and acquaintances into my studio to sit for a portrait.  Portraits are intimate. They involve prolonged eye contact in a closed space with lots of looking- things I have avoided in the past so as not to “give the wrong impression.”  By beginning each sitting with an explicit discussion of the premise, both sitter and artist are forced to confront our own assumptions, desires, and fears.  All participants, including myself, are implicated in the results.

Positioning these men as "subjects" further complicates the power structure between "artist" and "subject" and the role of the gaze in painting.

Tony
Gerry.jpg
Suje
Michael-watercolor.jpg