For "Maybe I'm The Afterglow" (below) I wanted a certain sort of child-like glow that I had a hard time coming up with, so I ending up using an actual child's face.
EXODUS was a piece that came out of an improvisational photoshoot with my friend, artist Kelly Grace, at her studio in April 2014. I rented as many vintage dresses as we could carry. It was one of those paintings that should have taken me about three weeks, but instead it took three months because I started to paint shadows behind each butterfly. It made sense visually at the time, but half-way through painting all those butterfly shadows, I realized it made the image much too busy. The whole thing ruined the soft glow of the spotlight on the wall behind her. I had already painted a fair number of butterfly shadows, so I had no choice but to repaint the wall behind her. I almost gave up on this painting. Blending a perfectly round soft hazy spotlight is challenging enough, but painting it AROUND a gazillion red butterflies was a nightmare. Cadmium red has a way of eventually bleeding through anything that gets painted over it, so I had no choice but to paint around the butterflies, unless I wanted to start over. This girl came so close to rolling over onto the graveyard pile, but she stuck it out.
MIRROR (below) was from my 2011 series, Colossus. These paintings were based on the poetry of Sylvia Plath. She told stories about the hurricanes her family experienced when she lived with her grandmother on the coast of Maine. She had memories of waking up to find sharks washed up in the garden.
Here's another piece from my shoot with Kelly Grace. It was a simple concept with all the detail of the image going into the lace stitching of the vintage dress we’d rented that day.