Coy A. Lothrop
MA/MFA Coordinated Studio Art Candidate
Low Residency | First Semester



01. Statement of Intent
02. Artist Statement (1st Draft)
03. Influences
04. Previous Works
05. Current Work



This semester I intend to continue to develop my technique with oils and explore the use of various sized brushes and other tools, such as palette knives, in order to expand upon my understanding of how paint works and reacts while pursuing the ‘loose but accurate’ style of my previous year’s work. Primarily, I will be working on large, traditional stretched canvas to see how I adapt to and utilize a larger scale than I am use to.

I also intend to accomplish several smaller studies on primed birch and/or aluminum panels in which I want to investigate an idea of double painting - oil on resin on oil on panel, playing with translucency and layering. All of the paintings will be figurative/portraits of some nature.

These explorations are stepping stones toward a much more involved body of work incorporating mixed media and interactivity. At this stage, however, I feel that I need to develop my hand and my understanding of the materials before expanding the horizon forward.


A Moment of Levity
My interest in recording our society's individual faces, expressions, and self-expressive decoration continues.

This semester/year my work will ask for a moment of levity. In a climate of news cycles filled with hate, heavy politics, the threat of violence, disaster, and a general lack of humanity, my vision is to fill a room with giant portraits of young people of all genders and nationalities making ridiculous, funny faces. My goal is to affect an audience with a moment of levity. I’d like them to see and explore the silly faces of youth, faces we’ve all made in fun and laughter and in lighter times, and to forget the heaviness of the world for just a second. I’d like them to remember a time before they learned to judge and hate, or to be upset by their Facebook feeds and the media. I’d like them to remember that in all this present heaviness, we have children who just want to make silly faces and be loved, a future worth making a change for.


Technical Study: Double Painting
I had an idea of painting a translucent painting over an opaque painting, thereby giving a double image or superimposition by using a blending of layers. I initially thought about using a glass or Plexiglas pane over an oil painting, but that could be hard to ship - breakage, weight, etc. I’d like to explore how to apply a layer of clear resin over a painting, creating a smooth surface, and then applying a transparent to translucent layer of paint to blend into the work beneath it. It’s part of a developing concept, another social commentary, to have some separation between these two surfaces of oils.

I’m open to any and all suggestions from the faculty as to how this might be accomplished professionally.

I contacted oil painter, Michael Carson, regarding the materials and he suggested a two-part epoxy resin that looks like liquid glass. I’ve discovered a bar top epoxy resin from Pro Marine that I’ll test with initally.



Our human countenance is a living picture, an ever-shifting reflection of the secret emotions of the heart. In its wonderful diversity of unique features, expressions, and adornments, it is both personal and universal. The delicate shape of a mouth, a forceful connecting gaze, a choice of charming, cosmetic enhancement; all are telling, emotional, and communicate a certain truth of our present condition. Although we are alone in our individual identities, we exist in a universal world of common experiences that unite us.

By presenting the viewer with an intimate, yet present-day interpretation of the genre of painted portraiture, I address these emotional truths and attempt to illuminate our shared societal issues. Through the rendering and viewing of the aspect of an individual self, we can feel less alone; connected, loved, and understood, and in essence, we can feel more human.



Matt Talbert
Michele del Campo
Ivana Besevic

Malcolm Liepkie
Michael Carson
Mia Bergeron





I’ve ordered all supplies and received it. This supplies includes three 4ft. sq. gallery wrapped canvases, larger brushes, and new tubes of paint, in addition to a professional 18” ring light and stand, backdrops, and a canon DSLR digital camera. I’ve setup a small photo studio adjacent to my regular studio space so that I can
photograph models as needed for reference material.

I’ve spent my time initially learning the camera, relying on manual camera experience from years back, and spending a few days testing lighting, settings, and model-to-camera setups to achieve the optimal output. I’ve journaled the entire experience so that I can always refer to the proper settings and conditions.

I sent out Facebook ads for models and have been photographing models who were willing to participate. I edited these photos in Photoshop and am now ready to start painting with the proper references.

For the large portraits, I am experimenting with starting the work on a black wash, acrylic ground. My process usually starts with drawing on the major landmarks of the face in chalk and then blocking in the faces major shapes. I'll put in brighter tones and color fields that don't necessarily exist in the photo reference so that they will peek through from beneath the layers of skin tones. I keep my brushwork loose and apparent, not allowing the painting to become too serious - meaning I'm not striving for photo realism - I want the painting to be a painting. I find more interest in the brushstrokes that comprise the rendered face that the absolute precision of matching it perfectly.

Working in a similar fashion to Malcolm Liepkie, I use a lot of linseed oil medium to loosen of the paint and keep it juicy and flowing, allowing my palette to shift as I work, mixing colors intuitively and responding to what I am seeing on the canvas.

Contextually, I want these particular works to be fun. Funny faces, a loose, fresh application, a surface that's interesting enough to explore for awhile and get lost in - thus removing you from the heaviness of the world for a moment in time.    

The first painting is nearing completion with the second painting being prepped for work. I'll have two complete large scale paintings for showing on October 20th.