Joseph Radoccia
1
2
3
4
|
5
6
7
|
8
9
10
|
Joseph Radoccia
Painting
Hudson Beach Glass
162 Main Street
Beacon, NY US 12508
radoccia.com
To purchase art work, please contact the artist directly: joejoerado@gmail.com
Painting
Hudson Beach Glass
162 Main Street
Beacon, NY US 12508
radoccia.com
To purchase art work, please contact the artist directly: joejoerado@gmail.com
All images materials:
Pencil and Acrylic on Paper
1. Portrait of Matthew 32x32in.
2. Portrait of Lucky 32x32in.
3. Portrait of Cameron 32x32in.
4. Portrait of Michele 60x42in.
5. Portrait of Lenwood 60x42in.
6. Portrait of James 60x42in.
7. Portrait of Alfred 60x42in.
8. Portrait of Joe 60x42in.
9. Portrait of Robert 60x42in.
4. Portrait of Richard and Lito 24x36in.
Pencil and Acrylic on Paper
1. Portrait of Matthew 32x32in.
2. Portrait of Lucky 32x32in.
3. Portrait of Cameron 32x32in.
4. Portrait of Michele 60x42in.
5. Portrait of Lenwood 60x42in.
6. Portrait of James 60x42in.
7. Portrait of Alfred 60x42in.
8. Portrait of Joe 60x42in.
9. Portrait of Robert 60x42in.
4. Portrait of Richard and Lito 24x36in.
These portraits began as a technical experiment.
My goal was to explore methods of creating and sustaining an intimate engagement between the subject and viewer while working with larger than life representation.
To begin I ask the model to avoid calculated expressions, and simply allow their features to relax into absolute repose while staring directly into my eyes. A tension is created by this combination of efforts; trust teetering on the edge of vulnerability. It’s this enigmatic balance I try to capture, render and offer back in their portrait.
I paint on paper, with pencil, house-paint and acrylic medium. I used a representational style to offer from a distance an accessible first impression. The direct gaze of the portrait pulls the viewer in closer for a more intimate experience of the materials and process where the vulnerability of the paper, the hints of the structured grid, the varied drawing styles manipulated with glazes, all interact to render the final likeness.
My goal was to explore methods of creating and sustaining an intimate engagement between the subject and viewer while working with larger than life representation.
To begin I ask the model to avoid calculated expressions, and simply allow their features to relax into absolute repose while staring directly into my eyes. A tension is created by this combination of efforts; trust teetering on the edge of vulnerability. It’s this enigmatic balance I try to capture, render and offer back in their portrait.
I paint on paper, with pencil, house-paint and acrylic medium. I used a representational style to offer from a distance an accessible first impression. The direct gaze of the portrait pulls the viewer in closer for a more intimate experience of the materials and process where the vulnerability of the paper, the hints of the structured grid, the varied drawing styles manipulated with glazes, all interact to render the final likeness.