Martin Mull.  No, Seriously. 

Martin Mull has certainly earned his place in the canon of exceptional narrative painters, those for whom painting is a delicate and complicated process by which the artist quantifies his/her relationship to the world around them. Mull’s assessments are usually dark, even sinister at times, and this darkness derives from a seemingly inherent flaw in our humanity, as if the figures in Mull’s universe, poised on the brink of personal reflection and faced with the invidious task of self assessment, would suddenly and inexplicably vanish into thin air in a puff of smoke. As with other narrative painters, including Edward Hopper or even John Currin, Mull is less interested in our human failings and much more concerned with the choices we make that determine our providence, collective or otherwise.