Christina Major Dolly Oil on Canvas by Christina Major 2024

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Quotes within painting:
"I'm optimistic about whatever is going to happen. We all have a childhood
dream that when there … Read more Quotes within painting:
"I'm optimistic about whatever is going to happen. We all have a childhood
dream that when there is love, everything goes like silk, but the reality is
that marriage requires a lot of compromise. You know what’s the sexiest
thing of all? A little mystery. Interesting is better than beautiful. You can't
fake listening. It shows. I was always willing to take a great deal of
the burden of getting along in life on my own shoulders, but I wasn't
willing to give myself a pat on the back. I was always looking
to somebody else to give me that. .. That was all wrong. It’s necessary,
at some point, to destroy your beauty. Once you get rid of the idea that you
must please other people before you please yourself, and you begin to follow
your instincts - only then can you be successful. You become more
satisfied, and when you are, other people will tend to be satisfied
by what you do. There aren’t any hard women, only soft men.”

As an undergraduate Christina Major developed into a portrait painter. Major has been interested in the ways the identity of both artist and subject can coexist in a portrait. Major also has a desire to combine portrait painting with writing (inspired from her Graphic Design studies) as well as to develop methods of using paint to express a merging of herself with the individual depicted in the portrait. Her creative research focuses on the traditional form of the portrait as a powerful form of representing an individual and how meaning can be expanded through scale, brushstroke, color, texture, composition and the many variables that portraiture deals with.

Major looks to expand on the traditional portrait painting by cataloguing her memories and thoughts along with the thoughts of the subject by painting under, into and over the subject in her handwriting. Majors “hand” is visible both in the brushstroke and in the cursive writing, preserving her identity in a “readable” way both literally and through graphology, or handwriting analysis.

The paintings are done primarily in oil on canvas grounds prepared with gesso and stretched. They are generally of monumental size ranging from 48” to 96” in each dimension. Major wants the portraits to feel overwhelming and have a “larger-than-life” presence that cannot be ignored. The large scale also supports her in creating a different “reading” of the painting depending on the viewing distance. Areas read quite abstractly when viewed up close and the emphasis appears to be brush stroke, dabs of color with energy and texture that is related to the form of the cursive text. From a further viewing point, the image coalesces from the fragmented strokes and layers of writing drawing focus to the likeness of the subject painted. See less