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I attribute collectively fresh, straightforward characteristics to this new grouping of pencil portraits. Possibly because the drawing medium is understood to be more spontaneous than oil, but also because of the cropped framing, which doesn’t allow for elaborate costuming or otherwise theatrical settings. Catherine is my favorite in the series. Her caught fixed stare is both candid and intense; beyond the scope of the picture frame. The tight compositional spacing creates a visual intimacy through proximity and tracing of exceptionally subtle facial lines and details. The rope like texture acting as a scarf around her neck appears as a heavy coil, manacling the comparatively delicate lines of her arched brows and hair. I’m also attracted to the drawing identified as Ramya. For me this drawing possesses an even greater psychological vulnerability. Beyond the obvious skill in technical rendering of the girl, the openness of the remaining negative space imparts candidness on the subject, while her glasses resume a common physical barrier. Because of the outstanding portfolio of your oil paintings, I can’t help wondering if these are studies for a later figural narrative, or if the communication has been achieved for you in the directness of the subjects.
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Ms Kristen T. Woodward critiques of members art.
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