To me, there is something quintessentially icy and British about Frampton’s work. It’s the austerity, perhaps, the careful control. He would often work on a painting for an entire year, which explains the poreless skin of his subjects, the flawless polish and, yes, the unsettling undertone of restrained savagery. No human is that smooth. No human is that calm. That Frampton’s portraits are so determined to show you one side of a subject automatically suggests there is another, darker side that wants to remain hidden.
In many respects the opposite of Frampton (who, indeed, I'd never heard of) I'd have to say my friend Vicki Walsh. It is not stylish these days to work on portraits these days, but that is her almost singular focus. But her portraits are not "smooth"; they are explosive with a kind of flawed energy that is itself almost inhuman: http://www.vickiwalsh.com/index.html
Then I'd have to go with Peter Paul Reubens for the stunning and mythic drama and color.
You know Vicki Walsh? Daaaaaamn. What a phenomenal talent--thank you so much for sharing her work with me. I am in AWE. Set her painting of the old man as my screensaver!
We grew up together. Our parents were best friends. Lost touch for a few decades, then reconnected in the 00's when my niece was getting married in San Diego. She's the one who was formerly a forensic artist.
Hovering in the back of my mind like an itch I can't scratch ...
Frampton's fascination with hands keeps bringing me back Whedon's fascination with feet. Whedon even talks about this in his numerous director's commentaries. But in Firefly, he constantly turns the camera to look at Summer Glau's (who started out as a dancer) feet as she is walking.
In many respects the opposite of Frampton (who, indeed, I'd never heard of) I'd have to say my friend Vicki Walsh. It is not stylish these days to work on portraits these days, but that is her almost singular focus. But her portraits are not "smooth"; they are explosive with a kind of flawed energy that is itself almost inhuman: http://www.vickiwalsh.com/index.html
Then I'd have to go with Peter Paul Reubens for the stunning and mythic drama and color.
You know Vicki Walsh? Daaaaaamn. What a phenomenal talent--thank you so much for sharing her work with me. I am in AWE. Set her painting of the old man as my screensaver!
The weirdest part? Her husband really likes me. Go figure.
We grew up together. Our parents were best friends. Lost touch for a few decades, then reconnected in the 00's when my niece was getting married in San Diego. She's the one who was formerly a forensic artist.
Hovering in the back of my mind like an itch I can't scratch ...
Frampton's fascination with hands keeps bringing me back Whedon's fascination with feet. Whedon even talks about this in his numerous director's commentaries. But in Firefly, he constantly turns the camera to look at Summer Glau's (who started out as a dancer) feet as she is walking.
I love this! The paintings are beautiful!