Commentary by Robert Dale Williams
Speed a Word, oil on canvas, 30x20, 2006
The plight of loved ones desperate for news from the frontlines of a distant military conflict gives this painting its contemporary pathos. I wanted to capture desperation in the woman’s face that is at once visible but distant with numbness. The drama is suspended – the anxious woman cannot bear to watch the slow progress of the boat that bears the news she’s desperate to hear. Speed a Word is a picture for those who are drawn into wars without entering a battlefield – the combatants that know no glory, only longing.
Man with a Fur Hat, oil on panel, 28x22cm, 2005
This portrait was executed in the summer of 2005 over the course of one week while I was studying at Odd Nerdrum’s residence in Norway. I was striving greatly as I painted this portrait of David Ransom, a fellow resident who posed for Man with a Fur Hat. Aggressively re-working the painting for days, the portrait finally emerged, imbued with the kind of dignity I had failed to capture in earlier portraits. For me, this painting has become synonymous with that summer residency – the most significant breakthrough in my early career. I will never forget how it garnered a tremendous compliment from my host and mentor, who passed through the studio one day and commented that the painting was simply “perfect”.
Frontiersman, oil on canvas, 34x28”, 2008
With Frontiersman, I wanted to capture the pioneering spirit of man. His eyes are wide open, his head rising with determination. After using photo references to inform some earlier compositions, Frontiersman is a product of my renewed insistence that all figures I portray must be crafted in the presence of live models. This working method brings a special air to the atmosphere, breathing life into the figures. The Frontiersman is solitary, weary, world traveled, and self-sufficient. Beyond him is the twilight of an unknown world into which he will soon venture.
Mother with Child, oil on canvas, 24x16”, 2008
What strikes me most with Mother and Child is the importance of the mother’s arms and hands, which became the key element of the picture. She is entwining her child with these arms, drawing it closer. Together they dominate the composition with their singular bond.
Wrath of the Tyrant, oil on canvas, 6x8', 2006
With “Wrath of the Tyrant”, my goal was to make a large painting of a tragic scene that could take place 500 years ago, today, or 500 years from now. I wanted to make a painting that recalled Michelanglo’s Last Judgment and Géricault’s Raft of the Medusa. As I painted the picture, many people asked me what the story was. Many people thought I was making a commentary about contemporary life. However, none of my paintings are addressing specific events, and they certainly are not intended to be a political commentary.
Some people are confused when I tell them that “Wrath of the Tyrant” is a sentimental picture. This is because they can’t get beyond the violence of the scene. The point of the picture is that we empathize with the group of people who are frightened. It is this empathy that makes the painting extremely sentimental.
(The above text was taken from an interview with Signy Norendal that was published in Aktuell Kitsch, October 2007.)
Barter, oil on canvas, 72x76", 2008
The theme is exceedingly seedy, repulsive, and sickening. Man's darkest desires are at the heart of this transaction -- to control another being for their own sexual gratification. How casual are the men involved -- the sloth of the flesh dealer as he enables the lust of the younger man. For centuries, the abduction and enslavement of young women has been a sad, continuing tragedy.
Dreamless Sleep, oil on canvas, 6x8', 2007
I'm greatly influenced by Francisco de Goya y Lucientes (1746-1828), especially drawn to his epic series of etchings called "The Disasters of War". Goya poignantly depicted how man, in the troughs of warfare, loses the value of life itself. Conquerors do not discriminate -- both the young and the old must be vanquished. The title itself was inspired by the famous soliloquy from Shakespeare's Hamlet; "... for in that sleep of death, what dreams may come."
Two tremendous models assisted me in the creation of Dreamless Sleep. Lynae's dedication, enthusiasm, and professionalism has driven a large number of my paintings in the past few years -- she also appears in Majesty of the Night Sky, Off to War, Mother and Child, Ambush, and Barter. Harold is a semi-retired part time model who never accepts pay when he works for me -- he also appears in Barter.
Reflection, oil on canvas, 4x5', 2005
The most cryptic picture from my early career, the theme of Reflection is contemplation and the assessment of one's own life. One man is ready to end his life with a blade, another man eyes his own reflection in a pool of water, still content with what he sees. I later learned of the many parallels between my painting and the story of Ameinias and Narcissus.
In the Greek morality tale by Ovid, a young man named Ameinias loved Narcissus, but was scorned. Rebuffing Ameinias' advances, Narcissus gave him a sword, which Ameinias used to kill himself on Narcissus' very doorstep. As he died, Ameinias prayed that Narcissus would one day know the pain of unrequited love. His prayer was answered when Narcissus later became entranced by his own reflection in a pool of water. Not realizing it was himself, Narcissus tried to seduce the boy. He finally realized it was his own reflection when he tried to kiss it. Fittingly, Narcissus then killed himself with a sword.
Couple, oil on canvas, 30x20", 2007
I believe that courtly love is first and foremost about fantasy and expectation. Over the ages, emotional connections have become superficial, and physical gratification has become expected. We take the caress of our lovers for granted. I believe it is our nature to long for an affectionate touch -- Rembrandt painted this most successfully in The Jewish Bride. With the interplay of hands in Couple, I sought to echo that key element of Rembrandt's painting.
Ambush, oil on canvas, 31x44", 2008
I lament the callous greed and mental laziness of criminals. This attack is in public view, with a gang-like overtone.