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mark that indicates where the figure begins and the ground ends. Working quickly with black marks and palette knives laden with color, she goes over strokes, correcting them, revising them, erasing and re-emphasizing, while always staring at the model, until, seemingly all of a sudden, the figure comes to life. “All my paintings start abstractly,” she says, “That means that I need to trust myself and my skills in drawing and painting—to allow things to weave together slowly. It starts with broad shapes and colors, and decisions to refine and refine, or to leave 38

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other areas loose—so that the picture can breathe.” The palette knives she prefers to brushes give her “an opportunity to be more physical.” “The knife allows for a layering,” she says, “an effect that feels more like flesh.” A SONG OF PRAISE TO PORTRAITURE

The value of the formal portrait in a society is twofold. It documents an event in that it preserves the likeness of an actor in history. It also becomes a substitute for its subject and in that way can inspire devotion. Thus, it’s important for an institution to have portraits of its directors and also important for mourners to have a portrait of a beloved parent or child. “I feel, when I do a

The artist's magazine easyindochinatravel  

ART AND COMMERCE are supposed to be at odds, but even purists acknowledge that the tradition of patronage— worldly popes, vainglorious kings...

The artist's magazine easyindochinatravel  

ART AND COMMERCE are supposed to be at odds, but even purists acknowledge that the tradition of patronage— worldly popes, vainglorious kings...

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