Raul displays a provocative collection of portraits painted over the last four years, which range from extremely lifelike at one end to a morass of paint and surface texture at the other. Such examples bring to mind the work of Auerbach and Dubuffet, with their differing approaches to using texture. To dip, as Tripa does, in and out of resemblance, seems to present the viewer with many questions about the persistence and reliability of identity. How much we can know a person or how well? Maybe they hint at an inner essence that transcends superficial details of appearance?