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These images strike me as having a strange, inexplicable familiarity that I can’t quite reconcile. Perhaps the pictographic aspects of the female forms are reminiscent of Venus fetishes and related archeological fertility icons. Some poses, such as in Image 43 alternately display a decidedly self-consciousness, as if momentarily arrested within the repertoire of models’ standard gesture poses. But I’m actually most attracted to the single image with includes the large profile of the head. The bright blue silhouetted face appears masculine by contrast to the stylized figure behind him, and functions as a dominant observer. Not quite voyeuristic, the symbolic nature of their relationship suggests dominancy and primacy- the female form seen and understood within the original male gaze. The throw away supports such as corrugated cardboard lend casualness to these paintings, in addition to a roughly articulated texture. I like the fortuitous drips, folds and superfluous marks which inject spirited movement into the otherwise static shapes.
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