Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
An early exploration of human fragments and the expressive power of partial form
In Figure at Hips, I was deep into my exploration of human fragments—using only portions of the body to invite closer looking and more personal associations. The painting centers on the mid‑section of a reclining female figure, presented not for seduction but for the quiet appreciation of a relaxed, unguarded gesture. Her form is counter‑balanced by the opposing curve of the furniture fragment above, creating a subtle dialogue of shapes.
The figure’s simplified pose and the pared‑down surroundings reflect my ongoing interest in reduction—letting the paint surface carry the emotional and tactile weight. Though the surface is smooth to the touch, the paint remains highly descriptive, allowing the body to be felt through contour and pressure rather than explicit detail.
The figure’s curves sweep from the right edge toward the center and down to the lower edge, where the crisp diagonal of the white support meets the deep orange floor. That diagonal intensifies the curvature of the body, sharpening the spatial tension. At the lower left, a cluster of ivy vines interrupts the near‑geometric simplicity of the composition, adding a small but intentional organic intrusion.
· Dimensions: 20″ × 24″
· Medium: Oil on canvas
· Framing: Custom-framed by me to
complement my specific
painting aesthetic.
An early exploration of human fragments and the expressive power of partial form
In Figure at Hips, I was deep into my exploration of human fragments—using only portions of the body to invite closer looking and more personal associations. The painting centers on the mid‑section of a reclining female figure, presented not for seduction but for the quiet appreciation of a relaxed, unguarded gesture. Her form is counter‑balanced by the opposing curve of the furniture fragment above, creating a subtle dialogue of shapes.
The figure’s simplified pose and the pared‑down surroundings reflect my ongoing interest in reduction—letting the paint surface carry the emotional and tactile weight. Though the surface is smooth to the touch, the paint remains highly descriptive, allowing the body to be felt through contour and pressure rather than explicit detail.
The figure’s curves sweep from the right edge toward the center and down to the lower edge, where the crisp diagonal of the white support meets the deep orange floor. That diagonal intensifies the curvature of the body, sharpening the spatial tension. At the lower left, a cluster of ivy vines interrupts the near‑geometric simplicity of the composition, adding a small but intentional organic intrusion.
· Dimensions: 20″ × 24″
· Medium: Oil on canvas
· Framing: Custom-framed by me to
complement my specific
painting aesthetic.