There is no genre of art older than the nude study, the bare human form. It commands our attention and often makes some of us turn away, either in modesty or – more sadly – in shame. The question of its endurance as an art-form throughout the ages is an interesting one. To my mind, the nude is deeply symbolic philosophically, and elegant in its accidental eroticism. The nude is both attractive – and to many, uncomfortably attractive – because it symbolizes true vulnerability; exposed flesh presents a form with nothing left to reveal.
The nude subject is in its most confident and vulnerable state, achieving these at the same time. This cannot be found anywhere else, and that is why nude studies are so captivating, so mesmerizing, so subtly profound. We objectify and sympathize, simultaneously, and this duality forces certain truths to snake their way into our consciousness, about how we view our own bodies and how we use them.
I am proud to be both painter and subject in this genre, to continue this great tradition. In a media landscape that barely bats an eye at extreme violence but suppresses the most natural of sexual desires, I regret only that my artwork isn’t more filled with genitalia.