“Hello, I’m Jerri Blank and I’m a 46-year-old high school freshman. For 32 years I was a teenage runaway. I was a boozer, a user, and a loser. My friends were dealers, cons, and 18 karat pimps. But now I’m out of jail, picking up my life exactly where I left off. I’m back in high school, living at home, and discovering all sorts of things about my body. I’m finding out that though the faces have changed, the hassles are just the same.” – Jerri Blank, Strangers With Candy
This immensely fun portrait of Jerri and her white Japanese silky “Suki” has been a great exercise in portraiture. I was glad to pick up this project for a friend, as I have always been inspired by Ms. Blank’s story of turning your life around and also recognizing that change is hard (no matter how hard you try). Jerri is also a master of transforming salacious, immoral natural weaknesses into personal strengths. In Jerri’s own words: “I’m dealing with this the same way I dealt with my own alcoholism and drug addiction… with lies and delusion.”
My favorite part of this piece was working on Jerri’s startling, charming face. Her tired, experienced eyes reflect her time in Florida’s “harsh” penal system, glassy from all-night benders in X trailer park. Her cracked and quixotic smile with spastic lips from years of eating glint and whatever else was unlucky enough to meet her mouth. Finally, her ornate floral blouse adds to her crooked splendor in this definitive portrait of Ms. Blank and Suki the Japanese silky.
Seriously though – this represents my first true attempt at straight portraiture of the human species, although my friends originally considered this their pet portrait! Poor Jerri. It’s amazing how the slightest alteration or shift in a facial feature can completely throw off the recognition factor or make something look odd. I discovered that human portraits require a great deal more precision than animal portraits. Another process I worked through was building up the skin in layers. There are so many colors and tones inherent in the skin, and not all of them are distinct yellows, reds, tans, etc. If you look at your own hands now, you will see the majority of your skin reflects a transitional gray tone, depending on the lighting. Finding the balance between tone and depth in Jerri’s face and hands was a challenge. I’m excited to take on more portrait projects so I can keep exploring how to paint human skin.
Returning to figure work with this study of a certain live model in my partially re-packed apartment a few weeks prior to moving. It is beyond exciting to come back to the classic and familiar gestural sketch of art school, and then combine that sensibility with my slow but eager, semi-abstract exploration of figure in relation to space and place. I’m trying hard to transmit how the sunlight filtered by the tree outside my window washes into and fills up my living room, now rendered a “transitional” space as recognizable domestic shapes are packed up and stacked in boxes and piles to the right. Transition or “interval” is central to my exploration of the time inherent in painting. This piece reminds me of an older figure study, but my risk-taking with color has certainly evolved. A time of change is ripe fruit to crack open, let the creative juice flow.
My latest project, a portrait of my second cousin Anna’s pooch Schatzie, is now finalized! This was an incredibly fun piece to work on, both for the larger size, the opportunity to play with color, and the detailed brushwork that such a close-up demands. In this portrait, I continued to tease out color nuances and “transitional” hues between distinct color stations, as well as creating a sense of depth, an overall goal in my painterly development. Throughout this process I also dove deep into the rich complexity of the color blue. Particularly, I worked with ultramarine blue – a sober, stoic blue who does not want to be green or violet, and would much rather fade to gray than roll with change – and primary cyan, an energetic, electric blue that readily mutates but has a naive quality that is somewhat related to finger paint. As I worked through the phases of this portrait, the intriguing synergy (yes, synergy!) between these blues became the primary focus.
Overall, the pet portrait projects have blasted off. So far this year I have had four commissions, and there are a handful in the pipeline, including portraits of two-legged (read: human) subjects. Through these portrait commissions I have begun to carve out a unique style, deepen my understanding of color theory, practice classic techniques such as layering and glazing, and also develop my business sense as an artist – something I certainly did not learn in art school. They also help me escape from puzzling over my recent abstract work when I get in a rut.
In other news, tonight is the opening for Norseman Distillery’s first juried exhibition. My older painting “Tuberculosis” will be featured alongside the work of 34 other artists selected for the show. If you can make it, I would love to see you there! Make sure to follow this blog for updates on upcoming shows, or simply if you are interested in the cracked insights of a 30-something-artist-geek-nurse-by-day/eve/night-animal-lover-freak-of-nature ;)