Born in Little Rock, Arkansas, 1977 is an American painter best known for his life-size realist portraits. The paintings combine figurativesubjects with abstract backgrounds or “tromp l’oeil texture studies,”reportedly inspired by Franz Kline and Robert Rauschenberg. Of this dual representation strategy Kassan notes, “my effort to constantly learn to document reality with a naturalistic, representational painting technique allows for pieces to be inherent contradictions; paintings that are both real and abstract.”
Kassan received his B.F.A. in 1999 from the College of Visual and Performing Arts at Syracuse University, Syracuse, NY. He continued his studies at The National Academy, and the Art Students League of New York, both in Manhattan, and won awards for his paintings from the Portrait Society of America, the Art Students League of New York, the Society of Illustrators, and Communications Arts magazine.
Kassan has studied human anatomy extensively, reflecting a scientific understanding of the muscular structures beneath the skin.
David has also written extensively on the subject and its relation to conveying emotion, including publishing an “Artist’s Guide to Portrait Anatomicae” and several articles on the topic for magazines such as Artist Daily. His technique of creating layered application of pigments has been hailed by critics as creating a highly realistic impression of skin and flesh.
David is represented by Gallery Henoch, New York, New York- Here are a few works of his art, and some inspiring words from his Artist Statement. Hope you enjoyed..
” My work is a way of meditation, a way of slowing down time though the careful observation of overlooked slices of my environment. It is the subtlety of emotion in my acquaintances that inhabit the aforementioned environment which intrigues me. My paintings strive for reality, a chance to mimic life in both scale and complexity. The viewer is given an eye level perspective of the subject. A view that is unbiased and in its most raw condition. It is my intent to control the medium of oil paint so that it is not part of the viewer to subject equation. The image stands alone without evidence of the artist. I displace textures from their natural environment by moving them out of the context they exist in. Taking the abstract form from the streets where they get lost and moving them into the gallery space where they can be contemplated as accidental abstractions. “
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