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Another message.  Again, I took the morning’s encryption personally, which is really out of character.  I generally don’t discover signs, assign hidden meanings, or experience epiphanies. But that particular morning followed a day of my writing an artist statement about my portraits. Words.  

Unlike Edward Hopper, words do not elude me.  I was not overwhelmed with the thought of writing an artist statement. I knew I could say it in words….a description of my technique, inspiration, and influences, I would not be expected to replicate deep emotional creative spirit. But, as I wrote. I began to feel that I had to provide authentic thoughts about my portraits.  

Let’s face it. Subject matters. What I paint matters to me. My portraits are about everyday humanity. David Hockney said it best: “Faces are the most interesting things we see; other people fascinate me, and the most interesting aspect of other people – the point where we go inside them – is the face. It tells all.”

As you look at my oil portraits from a distance, you see the likeness and expression of the individual. Closer inspection reveals the mood. And, finally, a closeup treats you to unlikely colors and brushwork. Just like a new friend…a first impression unfolds into something unpredictable.  I paint each portrait from a sitting model, never from a photograph.

But it’s not only about the subject or the product. I paint how I feel. And, I love the feel of painting…the strokes, the color, the playfulness, the mess. I am moved by the Expressionists, the Impressionists, the Post Impressionists. They move. 

People and painting thrill me.

So, it turns out that I did dig deep and wrote a statement that shares my personal thoughts and feelings about portrait painting. But, no matter how hard I try, my words will never adequately express a person’s face. That’s my reason to paint a portrait.

So say I. Recently I engaged in a brief conversation that contained a pearl of wisdom…mine! Probably it was a cultured pearl, because Mark Wood inserted a particularly key remark: ”I wish I could paint like that.” 

I was at a drawing session at Mark’s studio and, is often the case, he showed me postcards, clippings, and books of paintings that he likes. We engage in these chats because, it seems, that our tastes in art are closely aligned. For example, on that day he mentioned a favorite Laguna Gallery, which is one that I have followed. He showed me a book, which contained the portraits by an artist that I have long admired. But, it was his remark that turned my thoughts, and my abrupt reply, in another direction. 

“Just because you like an artist’s work, doesn’t mean you have to paint like her,” I replied. (The above two examples were both, interestingly, “her.” No precious gender gestures here.) I think having broad artistic tastes is a good sign. But, I do not think that should translate into emulation. 

First, to experiment with all the styles and subjects of interest would be disastrous. An accomplished artist would be regressing into becoming an amateur artist. Mark is accomplished. I believe he should focus on what he does well and not spread himself thin. If fact, he should buff up his body of work.

Second, I think that a concerted effort to emulate one particular artist is an exercise in losing one’s artistic soul. Although learning techniques and tips from a master artist is extremely valuable, I believe that artists can be over workshopped by their mentor. Attempting to follow the master’s path is to go astray. So I say.

by Mark Wood