These works were made when our daughter Leah was a baby. Her irrepressibility during the day lapsed during sleep, characterized by both repose and tumult, with nightly movements and expressions that marked vivid dreams. The dreams and imaginings of our child, of one who could not yet speak, formed the idea of these paintings, a series I call The Dream Life of Babies.
I began this work with drawings. It was clear from the outset that memory and invention, rather than direct observation, would be the bases of these works. This meant that the drawings and paintings that resulted could not be portraits of Leah, but would be more broadly narrative and, if not exacting as likeness, than still emotionally rigorous and focused.
As I developed these paintings, I had the opportunity to spend time in the Prado Museum in Madrid. Returning to the studio, the influence of Velasquez, Goya, Ribera and, outside of the Spanish collection, a particular Titian, appeared in my own work. This resulted in direct and, in cases, oblique references to some of my favorite paintings, and an opportunity to enrich content with links to the history of painting itself.