Seated Nude (Liz)

The premise for this work was to create a coherent nude study reminiscent of my favourite artists. This is not to presume it is commensurate but to declare a particular intrigue. I am captivated by the work of Euan Uglow, his use of composition; the planes of colour; the simplicity, precision and strength of his figurative work.This pose is largely influenced by some of his pieces (e.g.Miss Venne 1967; Women with White Skirt 1953).

The art of Lucian Freud also fascinates me, notably the way he paints skin. His work can be discomforting but nonetheless  powerful, often using the models’ environment to consolidate the overall effect (e.g.Bella 1996; Sleeping by the Lion Carpet 1996). I wanted to echo the Uglow composition while also paying attention to the skin qualities analogous to that found in a Freud piece.

I have painted the eponymous Liz many times and she was perfect for this endeavour. I employed her with the aim of producing a candid piece of work that would (as a result of it’s prevailing influences) also have impetus. The pose is uncomplicated, she is sitting on an elegant chair gazing forward. Placed in the centre, dominating the canvas, which heightens the empty space around her.

The subtle changes in the colour of Liz’s pearlescent skin are a product of the different light sources.I used a simple palette to pick up a wide range of colours across her body. Green, orange, pink and peachy tones across her head, arms and chest are from a warmer light emanating from a small window high up in the studio. Whilst the darker and cooler earthy, purples and green tones on her thighs and calves are from a combination of cooler fluorescent ceiling light high above and the cold hues cast by the studio surroundings.

This painting required a total of eleven sittings, amounting to nearly thirty hours.The result is statuesque composition with a bodily softness. Her slightly melancholic gaze does not meet me, she stares into space as if in a hypnotic state.