Having always been interested by the human form and the naked body in my artwork, I thought it necessary to share such an influential part of my inspiration. After recently realising that the only bodies I tend to replicate are those which look like my own, I have come to appreciate that I must focus on a range of genders, body types, styles and positions. This will allow me to fully understand the depths and complexity of the human body, but most importantly remind me of the beauty in its diversity. I create sketches with intent to put across the beauty of the human body, while aiming to combat the sexualisation which is constantly thrust upon it.
This lady is embracing her nakedness through dancing, allowing rosy cheeks and fluid lines to represent her passion and state of mind. In contrast to my other sketches, this woman showcases the body of the majority, righteously normalising pubic hair, drooping breasts and a visible belly. This is something that I would like to continue to communicate in my future work, whilst exploring a larger range of bodies within the human form.
This case study was drawn as the model was speaking, meaning that the face is disrupted and come alive by the act of movement, whilst energy swirls around him. Having drawn this piece with no intent of sexualisation, it came to my attention that no one would initially sexualise this image, unlike my other work. This reinforces the constant sexualisation placed upon women, in comparison to the male form.
Drawn from a shop mannequin, this work shows the standards by which women are held to, when it comes to something as trivial as purchasing clothes. The mannequin’s figure is rarely achievable and enforces a negative message of expectations of our bodies, just as male mannequins also do.
Studying the representation of Adam and Eve within art resulted in this piece, depicting the sin of sexuality in a post-fall world. Again, fluid lines represent passion and movement, whilst the figures give opportunity to be sexualised by the audience, due to their interaction with each other, rather than their bodies.
I was likened to a “horny schoolboy” by my art teacher after showing him these sketches that I had been working on. As much as I was insulted that my work was not taken seriously, I could understand where he was coming from. The female figure has been sexualised throughout all of history, so much to the point that an artist’s depiction of it is seen as immature when performed on lined paper. Even if I were a 13-year-old boy who happened to be horny, this would not correlate to these sketches; when drawn, the female body, along with any other, is a subject of art, not sexualisation.