People, whether in the form of a portrait or a study of the human figure, are drawn and painted in atmospheric and sometimes surreal settings. Studies of character as well as form evince the observed timeless nature of human lives and culture within which they are expressed.

  • Figuratives

Of particular note in this collection is the triptych of the artist, the artist's partner, and the artist's model. These three canvases are fairly large, but make a handsome set. Some of these pieces date to the artist's undergraduate studies, with a few having been painted before Lacey sought proper art instruction. (Oil on Canvas)

Portraits of mothers at various stages of early motherhood. This collection includes Randi with her mare Sissy, in which both mothers were pregnant at the same time. This particular commission, made from life drawings on-site of both Randi and the horse, ended up producing two finished drawings. Each of the drawings reveals its own take on reality while telling the same essential story of the two mothers. (Graphite on Paper)

This is a collection of sketches of friends, relatives, and private models whose countenance the artist found admirable. (Graphite, Charcoal on Paper)

Fairly straight forward with few frills, this collection of life drawings report on the intuitive and immediate response of the artist to his model and her setting. Somewhat traditional, these drawings reflect the long history of drawing from live models to which every artist worth his or her salt eventually succumbs. (Graphite, Charcoal, Ink on Paper)

The human form is fluid and dynamic, as is nature, in a larger uncoordinated background that, if examined closely enough, or through the use of the proper mathematics, is formed by static, interconnected frames upon which the dance of life takes place. Emergent interactions create life in this larger matrix of directed line, dot, and plane. These studies follow this interplay that is never itself quite as static as the natural laws used to describe them. (Graphite, Charcoal on Paper)

On the other side of simple observation we find altered states of interpretive drawing. These surreal environments, made so by something recognizable being not quite right, are drawn from life, combining real aspects of living models with impulsive quirks of a mind unhinged. (Graphite, Charcoal, Oil Pastel, and Shoe Polish on Paper)

To discuss a painted or drawn figurative study session, or to inquire about Lacey Stinson’s existing work, please call or email Rebecca Honeycutt from our Contact Page.