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| Overview of Jenny Dubnau's paintings in her studio, March 25, 2013. I first saw her work in "Heads" at K&E Gallery in Soho, 1996. |
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| Her portraits combine the best of Chardin and David (someone she thinks about often), with photographs staged by Jenny in the studio. The combination of air-borne facture and photographic portraiture yields strange perceptual resonance, slowing the rapid scan of visual data to a fleshy crawl. |
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| On her website, Jennydubnau.com, Jenny speaks about slapstick in her work. It's an ideal way to frame the extreme vulnerability in these works. |
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| With plenty of formal structure, these portraits reveal avid interest in psychological impact in expression, position and posture. |
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| They join the humanist tradition of great, western figure painting. |
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| And achieve mastery equal to same. Lavender skips over bone and muscle, gathering and pooling on glass. |
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| A hogshair brush, singed by turps scraped on canvas, builds ovoid and elliptical forms; passages of neutral colors model facial features glimpsed in moments of transition. |
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| Form of empty space around flesh space. T shirt loops in one direction, head, glasses, ears, in others. |
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| Within a symphony of ovals and ovoids one traverses the cross contour mountain scape: a mouth. |
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| Warm and cool balances moisture with dry |
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| Wresting flesh from image |
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| With a touch that floats and liquefies |
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| In atmospheres filled with breath |
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| and feeling. |
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