Sophia 1993

Nelson Shanks painted "Sophia" in what seems to be his studio, the painting alive with earthy tones and the glow of warm light. I’m struck by the surface of this piece, so richly layered and textured. Look closely, and you'll notice how Shanks uses thick, visible brushstrokes to build up the form, particularly in the background and the still life objects at the bottom of the painting. These marks are not just descriptive; they’re expressive, conveying the energy of the studio, the process of observing, and the act of painting itself. The figure is both classical and immediate, solid and present. But what I find most interesting is the way that the figure seems to be a part of the studio - just another object among the bottles, cans, and sculptures that occupy the space. There’s this sense of the world being alive with possibility, and artmaking is just one way to engage with it. The piece feels a little like Lucian Freud in its commitment to figuration, but with a warmer, more generous spirit. Ultimately, "Sophia" is a reminder that art is an ongoing dialogue, a conversation between artists across time, and a celebration of the messy, unpredictable process of creation.