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This painting is titled An Inequitable Power Dynamic. It’s one of my more direct explorations of tension, vulnerability, and control. The scene shows two male figures—one fully clothed in a business suit, the other entirely nude and posed on all fours. What drew me to this subject was the stark contrast: fabric against flesh, authority against exposure, the upright figure versus the bent one.
I painted this with bristle brushes on stretched canvas, working wet-into-wet so the brushstrokes remain visible and physical. You can see how I built the surface: smooth planes across the back and thighs, broader strokes in the floor and background, finer detail in the hands and shoes. The skin tones shift between peach, pink, and warm browns, with cool gray-blue shadows to give dimension. The suited figure has crisper edges, which emphasizes the authority of his stance.
The composition is all about contrast—not just clothing versus nudity, but posture, gesture, and light. The palette is relatively low-key, with a muted gray background setting off the figures. Chiaroscuro is at play here: strong directional lighting sculpts the nude’s form, casting shadows that deepen the sense of weight and vulnerability. The clothed figure is partially in shadow, which adds ambiguity—he is present, dominant, but not fully revealed.
Art historically, this work nods to Baroque tenebrism, where drama is heightened by light and shadow. There’s also an echo of artists like Caravaggio, who used the male nude as a stage for intensity, tension, and psychology. At the same time, the visible brushwork connects it to modern painters—Richard Diebenkorn and David Park come to mind—where paint itself is part of the subject.
What might this mean for someone living with it? It could speak to ideas of power and submission, of vulnerability in the presence of authority, or the way relationships balance exposure and control. For some, it may feel theatrical, almost cinematic—like a scene frozen from a film noir or psychological drama. For others, it may spark conversation about masculinity, intimacy, or the social roles we step into.
For me as an artist, pieces like this are part of a larger project: exploring the male figure, relationships between bodies, and how light transforms those interactions into something both personal and universal.
Details
Materials: Oil paint on stretched canvas
Size: 30 × 40 × 1.5 inches
Year: 2025
FREE SHIPPING Shipping takes 3-4 Weeks
This painting is titled An Inequitable Power Dynamic. It’s one of my more direct explorations of tension, vulnerability, and control. The scene shows two male figures—one fully clothed in a business suit, the other entirely nude and posed on all fours. What drew me to this subject was the stark contrast: fabric against flesh, authority against exposure, the upright figure versus the bent one.
I painted this with bristle brushes on stretched canvas, working wet-into-wet so the brushstrokes remain visible and physical. You can see how I built the surface: smooth planes across the back and thighs, broader strokes in the floor and background, finer detail in the hands and shoes. The skin tones shift between peach, pink, and warm browns, with cool gray-blue shadows to give dimension. The suited figure has crisper edges, which emphasizes the authority of his stance.
The composition is all about contrast—not just clothing versus nudity, but posture, gesture, and light. The palette is relatively low-key, with a muted gray background setting off the figures. Chiaroscuro is at play here: strong directional lighting sculpts the nude’s form, casting shadows that deepen the sense of weight and vulnerability. The clothed figure is partially in shadow, which adds ambiguity—he is present, dominant, but not fully revealed.
Art historically, this work nods to Baroque tenebrism, where drama is heightened by light and shadow. There’s also an echo of artists like Caravaggio, who used the male nude as a stage for intensity, tension, and psychology. At the same time, the visible brushwork connects it to modern painters—Richard Diebenkorn and David Park come to mind—where paint itself is part of the subject.
What might this mean for someone living with it? It could speak to ideas of power and submission, of vulnerability in the presence of authority, or the way relationships balance exposure and control. For some, it may feel theatrical, almost cinematic—like a scene frozen from a film noir or psychological drama. For others, it may spark conversation about masculinity, intimacy, or the social roles we step into.
For me as an artist, pieces like this are part of a larger project: exploring the male figure, relationships between bodies, and how light transforms those interactions into something both personal and universal.
Details
Materials: Oil paint on stretched canvas
Size: 30 × 40 × 1.5 inches
Year: 2025
