Jennifer Packer

Yiadom-Boakye shares Packer's commitment to painterly figuration of Black subjects with a psychological intimacy and restrained, moody palette. Both artists use oil paint with loose, expressive brushwork to evoke emotional depth rather than documentary realism.

Crosby works in a similarly intimate figurative tradition centered on Black subjects, memory, and personal interiority in a contemporary context. Her explorations of domestic space and emotional vulnerability parallel Packer's contemplative approach to portraiture.

Tuymans employs a muted, restrained palette and atmospheric understatement to invest figurative painting with psychological unease and memorial weight. His approach to depicting absence and loss through spare composition resonates closely with Packer's visual strategies.

Packer has cited Twombly's gestural mark making and treatment of surface as formative influences on her own expressive painterly language. His ability to evoke memory and emotion through abstract trace is echoed in Packer's loosely rendered figures and atmospheric backgrounds.

Packer draws on Manet's flattened painterly surfaces, his direct engagement with the human subject, and his willingness to leave areas of canvas unresolved. His influence is visible in Packer's use of bold tonal contrast and confident economy of brushwork.

Packer has referenced the Old Masters, and Titian in particular, for his luminous handling of flesh and the psychological gravitas he brought to portraiture. His technique of building depth through layered glazes informs Packer's own rich and nuanced approach to skin and form.