It’s Paris Fashion Week and that means there are too many pastel coloured hair people running around looking like they stole their outfits from early Missy Elliot videos. It’s that or very cozy/comfy looking sorcerers in white sneakers. I don’t have a problem with how people dress, but after a while it’s gets tiring seeing them all here. Maybe that’s the reason this week I’ve been more focused on realist portraits. A desire to be close to something that represents a real human being in my life. It could just possibly be me unconsciously creating more work so I don’t have to go outside and witness people’s instagram live feeds of “A E S T H E T I C S” while holding a Fiji bottle near their face.
I’ve been focused on Max and began Sam this past week. People tend to think it’s machine type work to paint two portraits at the same time. I used to think that too, but I can tell you it’s not. The energies are completely different. The mind shifts gears. You don’t notice that when you only have one going at a time. Max is a character and such principal figure during my time in Florence. There’s nostalgia that comes out as I paint him. Plenty of memories of Italy with everyone rush my mind every time I move my brush. Sam really switches it to another side of this positive spectrum. There’s more of a sense of the present and my time here in France. Sam‘s presence is more felt because we share so many memories here.
Both these individuals aren’t with me physically and it makes me continue my self portraits even more. The jump between realism and whatever you want to call my series of me on canvas is a reflection of my moods. I’m not saying I’m miserable without them, but things are more fun with them around. When I experience a sense of longing, I’ll naturally rely on myself hence the recent boom of self portraits. I’m in a good place with even better company. I love you, Max. I love you, Sam.