Oliver

[Enzie Shahmiri]

Dear Chris,

You know, I always appreciate your comments. Remember "Steve Erkle" , the geeky kid with the huge glasses? When he would mess up, he would say: " Did I do that?" and then look around himself totally perplexed.

That's how I often feel! Totally perlpexed at the glaring errors, looking around as if to say:" Hey, I know better, who touched this?!

The thing I appreciate most about portraiture is that it is very demanding. You can never let your guard down and that keeps me very humble. I once read about an artist, who was caught crying infront of his own painting. When asked what the matter was, he said something like, he can't find anything wrong. Basically he had reached the pinnacle of his artistic growth.

I guess so long as there are struggles, there is room to learn and time to find delight in every compliment given towards the hard earned, little success.

[Alexandra Tyng]

Enzie,

In this piece I feel there's been a successful "partnership" between the reference and your technique. The value relationships are relatively subtle, and the textures are interesting. I especially like the way his skin looks so smooth next to the leaves, and the ivy has that mysterious, lush, ivy-ish look.

[Enzie Shahmiri]

Thank you Alexandra!

[Tom Edgerton]

Enzie,

Very nice! I especially like the assymmetry in the composition, and the way the background movement balances the weight of the figure.

I tried painting some ivy a while ago, and the result was pretty sad... I commend you for your pluck!

[Enzie Shahmiri]

Dear Tom,

Thank you for your nice comments. The ivy was a first for me as well. There was the constant worry how to make it read like ivy, but not have it take over the painting.

[Michele Rushworth]

Chris wrote:

. I very much like the way you have handled your values.

My thoughts exactly. You've come a long way and I particularly like your asymmetrical composition on this one.

[Enzie Shahmiri]

Dear Michele,

Thank you! It is so nice to be complimented by such accomplished artists and to hear that progress in one's work is noticeable.

This last year was the " Monochrome Marathon" for me (they are my cheapest priced category). Doing so many of these paintings has helped me to understand the subtle value changes that occur in the face. I still have to look out for my enemy #1 " Senior Line" , who likes to creep up and hide here and there!

I miss painting in color though! When I did the painting of "Paco" , a little Papillion mix before Christmas, I made a promise to myself that even if I don't get any commissions for colored portraits, to squeeze in a couple of the Orientalist themed paintings again.