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A self‑portrait in pieces — psychological, digital, and painterly at once
When I created “Fragments” (Faces), I was thinking about how identity can be broken apart and reassembled — not just emotionally, but visually. I used my own face and body as the source, but the goal wasn’t likeness. Instead, I wanted to let the figure dissolve into essential shapes, tonal fields, and expressive reductions, while still allowing descriptive detail to surface in unexpected places.
The composition is built from multiple odd shapes, almost like shards of a shattered mirror. Each section contains a partial face, a sliver of a body, or a suggestion of a gesture. These pieces don’t align neatly; they press against one another, overlap, and create a rhythmic tension. That fractured structure gives the painting its psychological charge — the sense that the self is being examined from many angles at once.
I was also thinking about the digital world we inhabit. Recognizable computer and digital‑icon shapes slip into the composition, mingling with the painted fragments. They’re not literal symbols, but echoes — reminders of how screens, interfaces, and digital language shape how we see ourselves. Over these forms, I added curving paint lines and surface adornments, letting the physicality of the paint counterbalance the flatness of digital reference.
The result is a work that merges figurative suggestion, modernist reduction, and contemporary visual noise into a single field. It’s psychological, rhythmic, and open to interpretation — a portrait not of a face, but of the experience of being a self in a fractured, image‑saturated world.
Dimensions: 16″ × 20″
Medium: Oil on canvas
Framing: Custom-framed by me to complement my specific painting aesthetic.
A self‑portrait in pieces — psychological, digital, and painterly at once
When I created “Fragments” (Faces), I was thinking about how identity can be broken apart and reassembled — not just emotionally, but visually. I used my own face and body as the source, but the goal wasn’t likeness. Instead, I wanted to let the figure dissolve into essential shapes, tonal fields, and expressive reductions, while still allowing descriptive detail to surface in unexpected places.
The composition is built from multiple odd shapes, almost like shards of a shattered mirror. Each section contains a partial face, a sliver of a body, or a suggestion of a gesture. These pieces don’t align neatly; they press against one another, overlap, and create a rhythmic tension. That fractured structure gives the painting its psychological charge — the sense that the self is being examined from many angles at once.
I was also thinking about the digital world we inhabit. Recognizable computer and digital‑icon shapes slip into the composition, mingling with the painted fragments. They’re not literal symbols, but echoes — reminders of how screens, interfaces, and digital language shape how we see ourselves. Over these forms, I added curving paint lines and surface adornments, letting the physicality of the paint counterbalance the flatness of digital reference.
The result is a work that merges figurative suggestion, modernist reduction, and contemporary visual noise into a single field. It’s psychological, rhythmic, and open to interpretation — a portrait not of a face, but of the experience of being a self in a fractured, image‑saturated world.
Dimensions: 16″ × 20″
Medium: Oil on canvas
Framing: Custom-framed by me to complement my specific painting aesthetic.