In 19th century Victorian literature, it was a common practice to utilize descriptions of objects to form portraits of characters. This is why many Victorian novels are made up of long, often drawn out, descriptions of material objects and space: they saw it as a vehicle to capture the essence of a person. In this Double Portrait Series, I took this concept and applied it to traditional portrait and still life painting. The portrait was painted from life, with each session lasting approximately one hour. The model was then asked to bring a few objects that they felt described them or were of special value to them, which I then painted a still life of. By the end of the process, the model would have two portraits of themselves: one represented through the body, and another through the objects they selected. Setting these pieces side by side, the still life immediately recontextualizes the portrait, and the portrait puts a face behind the collection of objects. This conversation between object and owner in these diptychs not only plays on this Victorian literary tradition, but also challenges our understanding of what a portrait consists of, the relationship between model and artist and the possibilities of collaboration between them.