Sister Portraits: Isabella & Chantell
- CVE
- Apr 7
- 2 min read
Sister Portraits: Isabella & Chantell
by Chantell Van Erbé.
These two companion drawings were completed in 1993, during the very early years of my career. I was in my twenties at the time, still finding my voice as an artist and experimenting with different subjects and techniques. Although I no longer work in portraiture, this pair holds a special place in my heart. It was an important lesson in discipline, observation, and emotional connection.
Both works were rendered in graphite on acid-free paper, using the same brand and size to create a strong sense of continuity between them. I was very deliberate about making sure everything matched. I used Faber-Castell pencils, made in Germany, which were my preferred tools at the time for their precision and smooth application.
My portrait, above, was the first piece I completed. It was drawn from a childhood photograph and carries a quiet, introspective tone. The gaze is steady and still, almost meditative. There is a psychological weight in the expression, a sense of inwardness and detachment. The posture is upright and composed, but there is a subtle emotional distance present. I now see how much of my internal world I was expressing without realizing it. There is a seriousness there, maybe even a sadness, though not overt. It captures the feeling of being aware of yourself for the first time and not quite knowing what to do with that awareness.
When Isabella, one of my closest friends from my youth, saw it, she was deeply moved and asked if I would draw her as well. I was happy to. Her portrait, above, carries an entirely different emotional frequency. She is smiling brightly, holding a flower in her hands, eyes wide with joy and confidence. There is an openness in her posture, a warmth that immediately draws you in. Her personality shines through, and the drawing captures her as she truly was at that time. She was light-filled, socially graceful, and full of life. Psychologically, her portrait represents connection and outward expression, while mine leans inward toward introspection and observation.
While the images may appear slightly different in tone or color, that is simply a result of camera and lighting conditions. In person, the paper and graphite are visually consistent.
Even the signatures in these works are from another time. I no longer sign my name the way I did back then. It is a small but meaningful marker of how far I’ve come, both as an artist and as a person.
Even though the emotional tones of the two drawings are quite different, they were always meant to be seen together. I think of them as sister portraits, united by intention, memory, and friendship. My aim is to one day have them properly framed and exhibited side by side, just as they were always meant to be.
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