Flesh Drawing 05 Drawing

In Vile Bodies: Photography and the Crisis of Looking Chris Townsend describes the body as the limit of the human subject in space. Both container and contained, there are many taboos concerned with opening the body and revealing the abjection that lies within. Julia Kristeva identifies in Powers of Horror how this exposed interior becomes unstable and repulsive, highlighting our mortality and just how unreliable, fragile and out of control the human body is. The exposed inner features of the body threaten to occupy space they shouldnt, disrupting the identity and stability of the human form, whilst evoking feelings of fear and terror.
Utilizing the fleshy, sensual, quality of oil paints, an uncontained fluid mass oozes across the paper through layers of bodily tones and shapes. A combination of a smooth sensuous surface, and a looser range of painterly marks seek to describe different types of flesh, and bring clear definition to the collage of individual forms. It is hoped the pieces will continue to reveal themselves to the viewer through this variety of techniques. Moving the viewer through a landscape of bodily forms, the paintings intend to place the viewer within the interior of the human body.
The exploration of flesh, central to the emerging practise, led to working directly from cadavers at Leeds General Infirmary. The visceral areas of the decomposing body offer colours generally unassociated with the human form. A juxtaposition of contrasting colours seeks to create a dramatic, yet awkward vibration throughout each piece. The combination of bruised purples and delicate pinks are carefully chosen to conflict alongside blood reds and cold blues. Taking the viewer into the body these agitated colours soak and bleed across the paintings.