Mary Poelzlbauer

Maybe it’s the sun on my own skin lately, but I’m really noticing how differently painters translate it.

A few I’ve been sitting with, in shows and in studios —

@francispicabia.official — colour laid down in distinct, structural planes. Ochre, tan, salmon, umber, placed edge to edge rather than melting into each other, and the effect is almost sculptural — skin built like a mosaic.

@kayoon_anderson — a warm, varied palette and loose directional strokes that keep the skin feeling alive.

@broganbertie — thick, vibrant strokes and faces lit from within. Skin here isn’t about accuracy, it’s colour doing the work of light.

I’m wondering which of these feels less like paint and more like memory?

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