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Much of this work (and much other work) is noted as being 'oil on paper'. The specifics of this method are: the paper is nearly always heavy 240 grain rag printmaking paper, either Rives or Utrecht (I've come to favor Utrecht papers recently). I lay down 3 layers of gesso on the surface with a palette knife and then paint on the gessoed surface. Occasionally I use different papers (like butchers paper or watercolor paper) but always use a solid gesso foundation.
I have been painting, drawing and photographing faces for nearly as long as I have been working. At one point - shortly after college - I realized I wasn't as comfortable with faces as I wanted to be, so I spent the next few months doing nothing but. I obsessively made hundreds of drawings with various media until it was not only something I felt intuitive with but something I could play with. Much of my work involves reducing faces to a minimum of signs - how little can I represent and still have the piece 'read'? How much can I alter or rearrange?
I have found that not only is it nearly impossible - given a minimum of representation - to 'lose' a face but even more importantly, even a face reduced to a few sigils will still offer personality, character, expression. Here's an example of a piece that only 'reads' with a little effort - you have to go pretty far: