Faces are highly scrutinized subjects for which the mind develops acute discernment. Perception is built upon a wealth of knowledge accumulated through experience. People acquire the ability to distinguish subtle variations in the face to differentiate others. This intensive perceptual development of acuity in recognizing physiognomy is unconscious, and it is more developed than our ability to recognize distinctions between members of a different species or of meaningful variations in other organic subject matter. Unique regions of brain solely process images of faces and hands as expressive and emotive regions of a person’s body. A face isn’t superficial; it is seated before the brain, and it carries the senses. The face conveys the mind.
It may be peculiar that Americans have developed the practice of smiling in pictures, but from this characteristic, I produce a large body of work constructed around a thematic subject before I have exhausted my interest or my sources. As an artist who delves deeply into portraiture, I do not render a person more than once to perform a separate painting from each preceding work even in the most repetitious conventions of portrayal. It is in my constant changing of subjects that the renewal of unfamiliar features lets me maintain my interest in portraiture. My sources are found from the Internet, and the process of hunting for sources have become a secondary process of visual exploration to my observationally minded painting.