Inches away, the works of artist Chris Dorosz appear as what they are: paint drops on clear, acrylic rods. Yet, a few steps back, the sculptures form into everyday scenes among figures and other absorbing imagery. The narratives seem to float in the air, offering both visceral and delicate views of human interaction.
In a statement, the artist details the journey to his process: “Out of material discovery, I began to regard the primacy of the paint drop, a form that takes shape not from a brush or any human-made implement or gesture, but purely from its own viscosity and the air it falls through, as analogous to the building blocks that make up the human body (DNA) or even its mimetic representation (the pixel),” he says. “With this in mind I’ve been working towards creating a narrative of materials as the groundwork to explore changing ideas of human physicality.”
Even without clear faces, the scenes depicted by the artist take on an arresting intimacy. In works like 2007’s “The Painted Room,” Dorosz takes a similar approach, yet abandons studies of figures. Instead, he depicts common backdrops, maintaining the intimate vibes of his personal interactions.
In 
Inside a Charlotte studio, a hundred faces peer in different directions. These are the unsettling, yet engrossing sculptures of 
For the past few decades, New York City-based painter