On Understanding Conceptual Portraiture

Images are the language I speak.
In the hopes that I can further their positive affect, however reliant it is upon the viewer, this is my brief translation. Not of method, for the repeated strokes of graphite on paper are easily visualized without description, but of content; namely, the concept which provoked the rendition of these grey impressions.
All artwork is an expression of what is important to the artist, but that may not be confined to what the artist knows firsthand. (Although this form of third person expression more often characterizes written works and is essentially parabolic storytelling.) My works are often indirectly autobiographical, what I experience, the subjects that interest me, and my relationship with Christ remaining active ingredients in their composition. Nonetheless, excluding my few self portraits, it is not about me.
Instead, my work is defined by the concept each image is portraying. A conceptual portrait can be explained simply as an image that illustrates an idea. That idea can be described within a story (a narrative), a biographical face, or an emotion expressed without context.
My drawings are purposely objective with the goal of enticing the viewer into self-examination by means of a visual aid - the subject of which is a familiar person (or object), that replaces his face, his struggle, his joy, his actions and their implicit consequences, with your own. That what may have seemed to you an abstract concept becomes a reality through your own experience, which is mirrored in some aspect by the object depicted. I pursue this method, intending that you cannot remain apathetic or detached, but that you comprehend what is being said and/or who is being described, within the context of your circumstances.

Each piece is about human experience, about where it leads, how we relate to God and how He loves us, and how we relate, in turn, to each other.
My artwork is about you.
Soli Deo Gloria.