The photograph tells me what someone looked like. The portrait helps us remember who they are.

“I don't copy photographs. I interpret them.”

A camera records a single instant, from a single angle, in whatever light happened to be available. It can't ask someone to move their chin, can't wait for a truer smile, can't reach back into a decade-old memory to bring someone into a room they never stood in.

Most family photographs are candid, unposed, imperfect — which is exactly what makes them real, and exactly what makes them the wrong thing to frame and hang on a wall for the next fifty years.

A painting isn't bound to one photograph, one angle, or one moment. William works from as many references as a family can gather — formal photos, candid ones, decades-old prints, even a single damaged snapshot — and paints toward the truest version of the person underneath all of them.

The result is rarely identical to any single photo. It's something better: the likeness a family actually recognizes, in a setting and a moment built specifically to hold it.

Interpretation, Side by Side

These are real commissions, with the real reference photographs beside the finished paintings. Read the full stories on the Memorial Portraits page.

Black-and-white workshop reference photo Candid party reference photo
Old Man and Daughter, the final painting

Two photographs, taken years apart in unrelated places, became a single scene that never existed as a photograph — but is entirely true.

Candid reference photo, one of nine Candid reference photo, another setting
The final formal painting

Nine candid photographs, none in the right outfit or setting, became the formal portrait every one of them was quietly reaching toward.

Suzy's mother, on her own wedding day decades earlier
Suzy and her mother together on Suzy's wedding day

A photo of a mother on her own wedding day, decades earlier, became the moment she stood beside her daughter on hers.

General Merrill McPeak, reference photo taken at home in his flight suit
The final painting, General Merrill McPeak on the tarmac beside his F-15

An ordinary photo taken at home, flight suit and all, became a tarmac scene beside the aircraft he flew — the setting the moment always deserved.

Every family who has seen their painting for the first time says some version of the same thing: “That's exactly her.” It's rarely a sentence anyone says about a photograph. It's what people say when a painting has done its job.

A portrait doesn't copy a photograph. It interprets a life.

Whether it's a family gathered across generations, a beloved pet, or a tribute to someone no longer with us — every piece begins with a conversation.

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