Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
A line drawing where the act of looking becomes as visible as the face itself
When drew Self‑Portrait (1989) I was bearded and rendered through an actively expressive network of lines — marks that describe not only the facial structure but also the concentrated focus of the moment. This is not a polished, resolved likeness; it is a portrait of thinking, of pausing, of examining one’s own presence through the immediacy of drawing.
The close‑up viewpoint intensifies that introspection. The gaze outward is steady, almost searching, yet the drawing remains open and provisional. Line checkpoints — small structural guides that would normally disappear in a fully finished work remain. Here, they remain intentionally visible, functioning as evidence of my thought process. They map the movement of the eye, the testing of proportions, the subtle adjustments that shape a face in real time.
The unfinished outlines and bare, unrendered spaces invite the viewer to complete the form. That incompleteness is not a lack but a choice: a way of revealing the interior mechanics of observation. Much like my object‑focused works of the early 1980s — Dark & Light Mugs, Orange & Cruet, Cookies (Cookie Jar) — this portrait foregrounds the process as much as the subject.
This drawing was a pause, not a serious gesture, a moment to reflect. The spareness of the line, the directness of the gaze, and the deliberate incompletion all contribute to a portrait that is as much about momentary self‑examination as it is about representation.
medium - pencil
size- 11×15”
framing - framed by me
A line drawing where the act of looking becomes as visible as the face itself
When drew Self‑Portrait (1989) I was bearded and rendered through an actively expressive network of lines — marks that describe not only the facial structure but also the concentrated focus of the moment. This is not a polished, resolved likeness; it is a portrait of thinking, of pausing, of examining one’s own presence through the immediacy of drawing.
The close‑up viewpoint intensifies that introspection. The gaze outward is steady, almost searching, yet the drawing remains open and provisional. Line checkpoints — small structural guides that would normally disappear in a fully finished work remain. Here, they remain intentionally visible, functioning as evidence of my thought process. They map the movement of the eye, the testing of proportions, the subtle adjustments that shape a face in real time.
The unfinished outlines and bare, unrendered spaces invite the viewer to complete the form. That incompleteness is not a lack but a choice: a way of revealing the interior mechanics of observation. Much like my object‑focused works of the early 1980s — Dark & Light Mugs, Orange & Cruet, Cookies (Cookie Jar) — this portrait foregrounds the process as much as the subject.
This drawing was a pause, not a serious gesture, a moment to reflect. The spareness of the line, the directness of the gaze, and the deliberate incompletion all contribute to a portrait that is as much about momentary self‑examination as it is about representation.
medium - pencil
size- 11×15”
framing - framed by me