Three by Three: Guest Artists in Focus

QUESTION 2.    Your oil portraits rely on layered brushwork for depth and atmosphere. How do you pace yourself through those layers so the surface stays alive rather than overworked?

• ANSWER 2.     I sometimes will get lost in my portraits, losing the very essence I am trying to achieve. So, if I reach this stage, I will stand back, put away the brushes and study my work again, as, sometimes there is nothing wrong and I'm just over working it.

Kevin Payne
Painter

MEDIUM:    mainly oils on canvas

BIO:    Self-taught artist known as Papillon, from a village called Oakworth, near Skipton, located in England.

ETSY:    PapillonArtGB

QUESTION 3.    You’ve worked confidently in graphite and charcoal, such as the Adele portrait. What skills from drawing continue to anchor your painting practice today?

• ANSWER 3.     

  My sketches are my building block, where it all began for me. I can get in lots of detail which, whether graphite/charcoal or paint, is important to me.

QUESTION 1.    When working on well-known faces like Audrey Hepburn or Charlie Chaplin, how do you decide which moment, expression, or emotional register is worth translating into paint rather than simply reproducing a familiar image?

• ANSWER 1.    For "The Kid" on the Charlie Chaplin portrait, I looked for the no hope, all's lost appeal, but because of "The Kid" maybe hope is still prevalent even if its hard to admit.

  In "My Fair Lady", the Audrey Hepburn painting, however, it's all in the eyes -- vulnerability, but beauty.

  In "Sing like a Bee", Mohammed Ali at his best, is  a defiant, strong, in your face portrait that shouts out, "Hate me or not, you will always respect me". 

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All copyright and reproduction rights are reserved by Kevin Payne.
Artwork may not be reproduced in any form without the artist's express written permission.

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