The figurative paintings that comprise the Duets series feature ordinary people, typically in pairs, in common social settings. The binary dynamic works especially well in establishing a psychological tension or ambiguity that invites interpretation. In some of my compositions, relationships between the characters could be defined by qualities of intimacy and estrangement presented simultaneously.

In Contrails, for example, the viewer may attempt to define the relationship of the man and woman at the railing. While they share the same physical space in close proximity to one another, they occupy separate psychological zones. Each appears to be more interested in something absent from our field of vision. Lunch at the Winery features a carefully framed window to an outdoor restaurant that isolates a man and woman seated at different tables. They appear to be of a similar age and dressed to a similar level of attire. Their faces are concealed as they sit back-to-back beneath a canopy of grapevines. Although they are in the presence of unseen partners beyond the limits of the frame, they are “a couple” in the context of this painting.

To varying degrees, the viewer is implicated in each of these compositions. In Underground Cafe in Barcelona, our intrusive presence is acknowledged in an unsettling way, as the man in the mirror clearly lets us know we are not welcome. The darkly-lit setting and strategically placed props reinforce the mood, as do graphical elements that define an invisible barrier of glass. Featured prominently is an interpretation of an ink drawing - one of Picasso's La Corrida (Bullfight) series. Viewpoints employs similar techniques, as a gallery space is closed off by typographical elements and subtle reflections. A large portion of the composition is reserved for the external industrial environment that contains the restricted window of view. In this painting, however, our gaze is returned not by the gallery employee, but instead by a partially concealed portrait of Edward Hopper - an homage to the American realist artist whose work was characterized by the dominant presence of thoughtful and essential geometry. The textual graphic on the left and the computer monitor are further reminders of partially concealed “viewpoints”.

In a couple instances, a painting from the series features just one figure. However, I discovered that merely the implied presence of a second person was enough to establish a duality. The empty chair in Awaiting Gershwin has as much weight and visual importance as the chair occupied by the suited man. The absence of another person emphasizes a feeling of self-imposed isolation that this man seems to project. The toe of his shoe almost physically braces the cordoned off limits of the space he occupies.

In others, the duality is not lost, but rather enhanced, by the inclusion of additional figures. Peripheral bodies in The Mannequins are cropped appropriately for the theme, but do not upstage the pairing that occupies the center of interest. The frieze that dominates the top half of Stations of the Cross does not obscure the tandem of identical tourists below; instead, Gaudi's sculpture serves as a stark foil upon which the camera's cross hairs are stationed. In Spanish Sidewalk, the inclusion of the feet of an advancing male figure not only gives perspective and solidity to otherwise empty space, but fills out a narrative dominated by the young girl and older woman. A simple, fleeting hand gesture in a pedestrian scene can suggest caution and protectiveness in the context of this painting

Like the paintings of Edward Hopper and Alex Colville, formal considerations such as pictorial geometry and careful cropping are integral to my work. Often, faces or body parts are cut off at the edges of the canvas – an effect, usually arbitrary, that is commonly seen in photographs. But in a painting where content is typically pared down, cropping can have a dramatic impact in terms of aesthetics and interpretation. Because of this, my approach has to be calculated. The Conversation is the best example of a deliberate use of cropping for expressive effect within this series of paintings. This stand-off between a man and a woman is not clearly understood, as the eyes, the primary means of expression, are edited from our view with due consideration. Additionally, in the woman's case, her face is all but completely concealed by a bamboo plant. We construct our own narrative by deciphering clues from body language and symbols provided.

From a technical standpoint, I often use digital photographs as my source material. A combination of gestures or a connection may trigger an idea that I can build upon to create something meaningful within the overall context of the painting. I’m satisfied when an image transcends its photographic origins and becomes something more universal or iconographic.

I’m always attempting to make the brushwork more of a prominent feature in my painting, and preserve some of the initial expressive energy within an otherwise fairly illustrative approach. Revealing the soul of a painting is, in part, due to a technique that doesn't try to conceal evidence of the artist's hand. Upon close inspection of many of my paintings, the viewer is able to 'read' the brush strokes directly in an unfiltered, abstract way; from a greater distance, hopefully an uncannily uniform effect is achieved. This illusionistic brushwork allows for two separate viewing experiences that reinforce one another. If I can interpret colour and form accurately, without abandoning the effect of spontaneity, I not only create a richer experience for the viewer, but I have hopefully moved one step closer to breathing life into my creation.

-- Steve Volpe