Translating a life model, stripped of clothes, onto a page or canvas is one of the most intimate and intriguing artistic practices I have experienced. You are not only illustrating the line and form, but extending the visual observations into the recording of the model’s presence and ‘being’. The naked form has the ability to embody expressions pertaining to the human condition - vulnerability, power, sensuality and sex and it is due to these complexities of nature that I am drawn to the depictions of the nude, or perhaps more suitably titled, according to John Berger’s Ways of Seeing, the ‘naked’. Applying thin gestural layers of paint - closely reflecting the drawing medium traditionally used in life drawing; charcoal - my artistic practice attempts to illustrate the sensuality of human relationships in rested, intimate and domestic interiors. In particular, this year I have been drawn to the depiction of couples. Relationships that have directly and indirectly contributed to my experience, such as my parents. The ‘nude’, traditionally connotes erotica, particularly in traditional European oil painting and the contemporary visual culture. However, it would be the nakedness of my mother and father that would dramatically change this narrowed perspective for me. A day in August, I walked into the bedroom of my parents without knocking. Lying naked, side by side and untouching, they read their books in silence. Unabashed by their exposed bodies, their acceptance and trust of one another proved to be a profound and significant experience for the direction of my practice. With a keen attention to light, perception and composition, my work aims to replicate the intimacy of that moment. The figures, drawn from the dark of their privacy breathe in an unwearied state between the sensual and the sexual.
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