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A Portrait.

Capture. Traditionally characterized as possession, forced control. In prehistoric times, people painted cattle in hopes that through this act of rendering they’d have luck in capturing them in the wild. Ancient Egyptians carved images of the deceased as they encountered the gods with success in the afterlife. They believed that through creating these scenes two-dimensionally, they became reality.
As I attempt to paint you, I can’t help but feel like you were the one who captured me first. I looked into your eyes and I was gone and I tried to find the rationality that knew it’s wasn’t worth my time but I was already caught. Dark eyes. Glimmering ever so slightly; enough to trick me into becoming prisoner to something I realize now was a mistake.
Why, a duality of capture occurs in a portrait. The painter attempts to capture the subject – either in essence or in physicality – but it is only the artist’s status as the subject’s captive that this effort is made. The caveman need not seize the bull if he never grows hungry.
But alas, who is the prisoner now?

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