The siblings are groups of several Wonderful Old Women all based on a single original work of art found in an art magazine. They share a visual DNA because each sister owes her beginning to the same original work.
These women began as a sort of death mask for a mother. Because there were no eyes on it, I felt free to be creative with the eyes I made for each of the sisters.
The pale blue man who inspired these sisters has been in my file for a while. Something about his face appeals to me, obviously in three of the sisters. But Betsy, though begun with the identical face, evolved into a very different woman, which surprises even me.
AMRAKDER SISTERS were devised from an ad for an exhibition at the Karma Gallery, showing a red-orange person of indeterminate gender with compelling eyes. This image is the progenitor to all three sisters Pat, Molly and, most apparent, Audrey—an unanticipated reference to my Fanfare Series, paintings of women having hot flashes from the 1980s.
I recently learned of a family in which twin daughters were named Alpha and Omega, inspiration for my for latest Siblings, the SORORAL SISTERS Alva and Megan.
The NOORAM SISTERS do not look alike. But, like many siblings, they have a common ancestor. The face and torso of the bald maroon man underlies every sister, each of whom bears some of his visual character.
My challenge was transforming a lovely anonymous young woman, in a painting titled “Mona Lisa Smile” into Wonderful Old Women; idiosyncratic individuals with identifying personal tastes- while retaining that celebrated original smile.
As I created the DEMARF Sisters, I kept the frame pretty much intact, using the amorphous portrait area for developing the images of the sisters. Research revealed little about the Kunsthalle or the town of Leoben and nothing about the apparent artist R. Little John, to whom I owe a debt of thanks for the inspiration.
I created the four NACIREMA sisters, by applying layers of paper over Peter Saul’s image from Art in America, Nov. 2016, to make a visual expression of the complexities of the American electorate in the wake of the recent Presidential election.
An ad for an exhibit of bronze sculpture by Sean Henry underlies the faces of these three sisters and determines some of the mutual characteristics.
In transforming a Jean Dubuffet depiction of a grotesque old man, I have created portraits of seven women, each of whom embodies characteristics of that original image- a sort of visual DNA.