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As a boy I trained with my dad and a few Sunday painters. in High School I had an excellent teacher and then attended Pratt Institute for college. I always started a piece with a vague, abstract direction before I met with a model to deal with the lighting, pose and dress, although I am always prepared to abandon it when something more seductive leads me away.
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For
Alyssa's portrait, I let her choose the location, which was an argillite
stonewall built by her father, a stonemason. She is very fond of
him, and though he is not in the picture per se, hinting of this
relationship was essential. Capturing a likeness of someone can
only come when you know them, and knowing them only comes from spending
time with them. Time allows you to see past the superficial, to
allow the person to reveal who they are. That's what I wait for.
Alyssa's warmth toward her father had to be evident in this painting.
Equally important was creating a successful painting overall. The
mortar lines culminate at Allyssa; contrasts of light and dark happen
within the painting and the red of her skirt bleeds into the barn
door. I've wiped out many likenesses in the interest of seeking
a more provocative picture.