This series began with my husband in our first apartment's pink ceramic bathroom: As he would bathe he would uncloak, becoming comfortable in his own skin. I find is a rare male who allows anyone to see his tender 'soft pink underbelly' - physical or metaphorical - so I paint un-idealized men in unguarded vulnerability. Through this work I seek to broaden the perception of contemporary masculinity and the environments through which virility is described.
Study for ‘Andrew, In the Bath’
2011, oil on matboard, 8 x 11 in Private Collection
Andrew, Checking (in the bath)
2013, oil on canvas, 5 x 7 in Private Collection
Andrew, in the Woodpile (Dämmerung)
2014, oil and acrylic on canvas paper, 8 x 10 in
2011, oil on metrocard, 2 x 3.5 in (5.5 x 8.5 cm) Private Collection
"(Brown) PINK" is a name for a tube of paint on the painter’s palette: a transparent, bloody kind of hue. (As I usually ground my paintings in an earthy red to enhance fleshy undertones, Brown Pink is one of my favorite pigments to use.) One might assume that pink is a description of the hue - however, the term “pink” has nothing to do with the appearance of the actual color. The word "pink" instead refers to an historic manufacturing process used to create a transparent dye derived from varied sources of various hues. It has a wide range, being able to glaze warm and tint cool. Learning about this pigment's history - and re-examining my expectations of what labels are able to describe - has opened up my perception of how things may have more than one use, more than one description, and may be capable of so much more than how they are simply labeled.
"BROWN" is also the name of my husband (Braun). A redhead, the transparency of his skin often blended in with the pink hue of our first bathroom's tiles - and I found myself questioning what I actually saw, and what I thought I should see. I then began to tie this internal inquiry about my own perception to a larger vein of how masculinity in contemporary culture is depicted, or assumed. I am using this context to break through prescribed appearances to search deeper, more intimately, for the vulnerable and multi-layered human soul underneath the skin.
2007/2016, oil on canvas, 37 x 50 in
'The Weather Watcher'
2015, oil on canvas, 68 x 48 in.
Surveying (WORK IN PROGRESS)
2016, oil on canvas, approx 60 x 84 in.
Daemmurung Resipisco (WORK IN PROGRESS)
Sit With Me Stay With Me
My elder sister was 21 years older than I, my mentor and role model. I see so many of my own choices influenced by her, yet despite our difference in years and distance, we seemed to share a psyche. We also sat on the same branch, though on different twigs, of immune-system-related chronic diseases. I have watched her create a life, balancing beauty and pain, voracious living while cheating death.
After a long battle, the Great Equalizer took her body and soul is with her Creator now.
I began this series of work to chronicle the time that we spent together in her last years. I now continue, working no longer from life, but from reference and memory. She was an interior designer, her work infused - and others' - environment with a quality-of-life through beauty. These paintings are my way that I’ll be able to have her sit with me, to have her stay with me.
The First Portrait of My Sister
2014, oil on linen, 12 x 16 in.
Christine’s Hands (New Phone)
2011, oil on metrocard, 2x3.5in (5.5x8.5cm) Private Collection
This portrait was commissioned by The Grand Center for Arts and Culture, New Ulm, to be included in their permanent collection.
Less Than Ideal
This series explores concepts about projection and perception through self portraits.
2008, oil on canvas, 14 x 12 in. Private Collection
Exhibited in Water / Bodies, Eden Rock Gallery, St. Barth’s, 2009, and the Outside In, Piermont, NY 2014
2008, fresco secco, 12 x 15 in.
Exhibited at the 2008 Summer Exhibition, curated by Will Cotton, Matthew Flowers, Nicola Hicks and David Salle, New York Academy of Art, NY
2008, fresco secco, 12 x 15 in.
2008, oil on canvas Private Collection
2008, oil on canvas
Study for “Portent” DETAIL
2008, oil on canvas, approx. 12 x 24 in.
2008, oil on linen, 48 x 60 in.
The Tie That Binds
This series pursues an awareness of mortality and explores self-perception. Painting my family’s personal observations of their own experiences – often with trauma, disease and recovery – my work reflects a longing to empathize with them.
Having requested that my far-away family photograph critical and daily events, they choose how they want to represent themselves based on what they think is important that I see. From the photos they send to me, I develop images that represent my perception of their experiences.
Painting their experience allows me to picture myself in it, though I am removed from the event. With saturated color and contrast, the brushstrokes disintegrate into vulnerable flesh. Through this process, the image describes a psychological space between invitation and repulsion. Drawing from a shared history, my paintings connect with and filter moments of anxious familiarity.
Dad’s Heart (small)
2011, oil on metrocard, 2 x 3.5 in (5.5 x 8.5 cm)
Dad’s Heart (After the Surgery)
2010, oil on canvas, 18 x 24 in
Dad’s Heart (After the Surgery) DETAIL
2010, oil on canvas, 18 x 24 in.
Dad’s Hands, After Working on the F350
2011, acrylic and crayon on paper, mounted on panel, 8.5 x 11 in