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Created on paper sourced in Mexico, Foreign Bodies is a limited series of ten original works exploring the female form through movement, imperfection and material.
Each piece begins simply: a body rendered in black, stripped of unnecessary detail and allowed to exist almost as a gesture across the page. Acrylic is then introduced more instinctively falling from above, travelling across the figure and dripping from the breasts and body.
Nothing about the movement of the paint is completely controllable.
And that is the point.
The paper carries its own history before the artwork even begins. Sourced in Mexico and transformed by hand into an original work, each piece becomes an intersection of places material collected from one part of the world, an idea formed in another, and a female figure existing somewhere between the two.
The contrast is intentional: the permanence of the black form against paint that appears caught in motion. Structure against fluidity. Control against release. Strength against softness.
No two drips can fall identically. No two bodies will exist in exactly the same way.
Each of the ten works is therefore entirely one of one a small original capturing a moment that cannot be recreated.
A body. A place. A movement. Once, and never exactly again.
Created on paper sourced in Mexico, Foreign Bodies is a limited series of ten original works exploring the female form through movement, imperfection and material.
Each piece begins simply: a body rendered in black, stripped of unnecessary detail and allowed to exist almost as a gesture across the page. Acrylic is then introduced more instinctively falling from above, travelling across the figure and dripping from the breasts and body.
Nothing about the movement of the paint is completely controllable.
And that is the point.
The paper carries its own history before the artwork even begins. Sourced in Mexico and transformed by hand into an original work, each piece becomes an intersection of places material collected from one part of the world, an idea formed in another, and a female figure existing somewhere between the two.
The contrast is intentional: the permanence of the black form against paint that appears caught in motion. Structure against fluidity. Control against release. Strength against softness.
No two drips can fall identically. No two bodies will exist in exactly the same way.
Each of the ten works is therefore entirely one of one a small original capturing a moment that cannot be recreated.
A body. A place. A movement. Once, and never exactly again.