I see you naked, expressed openly, undisguised… by any way exposed or undressed…
It’s been 28 years of drawing and painting from a living model and this look over the model doesn’t strip down, rather sees, with tenderness, with respect, at every trace, in every brushstroke in a religious gesture of reverence for human life and its form.
For those who have never realized the significance of this formal discipline, in the scope of fine arts, its practice is based on the experience rooted in, along the passing of time, that life model drawing is actually the most eficient way to understand concepts such as: composition, framing, volumetry, light-dark, line, taint or warp.
It is the drawing on the scale of the Human that, in the background, turns into the target reference and center of gravity for our relationship with the world around us.
But the Nude, itself, is not only, especially in this context of the Arts, a representation of a person without clothing or a starting point for merely artistic learning.
Being naked brings with it other connotations.
In its symbolic perception it can, among other things, be evoked as the Truth, stripped of all accessories.
In Ancient Greece, in regions such as Minoa and Sparta, nudity was, following this understanding, frankly well accepted. At the Olympic Games, Athletes competed naked. The word “gymnasium”, for example, means place of nudity (because Greek athletes trained naked)..
Until the beginning of the XVIII century, Christian baptisms were received in stripping nudity too, in an immersion in water, symbolising a new birth. The nakedbody was the expression of this important spiritual and existential moment…
The disappearance of this and of other unprejudiced practices later accentuated the dominating sexual connotation and look over the naked body.
Truth, Symbolism, Spirituality, Religiosity, Eroticization, Shame…
In these drawings and paintings we do so, not a representation, but a resubmission of all our experiences in contact with the world the surrounding environment, elaborated with complete involvement of our inner primary organization, our living patterns, our willingness to the inescapable of the knowledge of our individual and colective deeper Being. What Wealth!
Anthropocentrism and humanism underpinning this mode of artistic representation are thus woven by the designer and spectator around the bodies we inhabit and of others that we feel inhabited, without any prejudice or misconception.
To me personally, in each Model, i am dazzled by the relationship established with space, with the infinite possibilities of mobility and positioning within it. Bury me every tenuous interaction with other designers, painters, sculptors, models and other busy bodies in this momentary bond in which, in traces and strokes, so much of the sublime becomes unveiled.
