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Senses

As humans we are self-aware and we experience the contact with the world though our body. As humans we might look distinct from each other: different skin colour, different body size, different ways of dress…  Life drawings and studies of the body show us how difficult it is to capture the human  form. At the same time, our body is linked with identity and how we define ourselves. But then… as humans we all share the same five senses, the same pain. This section asks us to explore our inner voice and what it really means to be human in the age of crisis and the Covid-19 challenge has reminded us of the qualities we all share and the compassion we have for each other. 

* Where you see a triangle icon, hover over the image to see more 

Anna

Szalay

From left to right: Lady in Red, Female Poses, Pose Progression, Bent, Reaching, Floral Portrait, Floral Couch

Bottom right: Lilac Nude 2

LUSCIOSLucia Affaticati
00:00 / 03:19
(B_Poem_)Lilac nude 2.jpg

Drip. Drip. Drip.

I try and ignore the leaky faucet;

hold the razor with a firm grip.

 

Slide it against my soapy skin

to reveal what's underneath.

If 'beautiful woman' is my destination,

this is where I begin.

 

I see a red drop running down my leg

but I remain unfazed.

I am 14; Well into my journey now.

I'm used to seeing more blood on my worst days.

 

You see, I am not afraid

but I am frustrated.

My time is being wasted:

trying to be hairless in unreachable places.

 

I couldn't care less. 

These strands don't phase me.

Weren't they meant

to grow with me?

 

'Stop acting like a boy!’

My grandma is tired of the pants I wear.

'You would look beautiful in a skirt, with your pretty, long hair.’

Don't just walk out the door, it's time you care!

 

Shiny legs look great

but I don't want to be his Venus.

Let my legs be:

dark, hairy and venous.

 

‘Blossom into a woman!’ they say,

‘But we choose how.

You unravel as we mould.

You do what we allow.’

 

It seems that my hair has multiple identities.

Wherever she goes, she's seen differently.

 

Feminine keratin on my scalp,

flirty lashes on my eyes,

mannish above my lips,

and 'Ew! so gross' on my thighs.

 

'You'll get used to it.

It's daily routine.’

So could you!

I am not obscene.

 

They shouldn't get to choose

which parts of me exist.

If you want me to be a woman,

accept what lies on and within.

 

5 years later

and I am still the same.

I still feel like a woman

and I still feel the shame.

I still can't wear skirts

without reaching for the blade.

And I still have better things to do with my time,

so, the pants are here to stay.

 

Your words were my adolescence.

I was censored and edited.

It's now time to unlearn;

embrace what I inherited.

Grow again: unlimited.

(A)Minna Ford_Untitled.jpg

Untitled
Pen and Ink


A colourful portrait of a life model. The unnatural patterns and colours contrasted with the natural human body link this piece to the theme.               

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Hannah 

Leigh

Fat Sue 

69*12*50 cm

Hair

by Manasvini Moni

My Indian heritage and my interest in gender stereotypes are what lead me to venting my frustrations through poetry.

The poem questions how the value attached to something natural, like body hair, changes with the bodies they are found on and the cultural perception of those bodies. 

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Minna Ford

As a feminist I feel frustrated with the depiction of women's bodies in our society and the prevalence of the male-gaze. Female nudity is not always sexual or submissive.

Top: Golden Stigma

A5 / Mixed media collage

Made with a portrait of Madonna from a 1985 edition of playboy, a hand marbled background and gold paper recycled from an Easter egg! I'm interested in the taboo of female body hair despite it's very natural existence. 

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My Tears Dry on Their Own

A3 / Pen and Paint 
This is a portrait an amazing life-model who played her own playlist while she posed and exuded the strong vibes from the music. Her self-representation felt more natural than a model being told what to do and how.

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Contortion

Pen and Ink

A portrait of a contortionist life-model with added patterns. Her ability to move her body in such unique ways represents the natural / unnatural capabilities of the human body.

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Three looks at man 

Paint markers on sketchbook

Using unnatural colours and mediums to portray a natural form (nude man), each presenting a different mood and disposition.  

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Victoria

Ngai

Medical student whose favourite subject to paint/draw is the human face and figure.

Women

A3 / Acrylic

 

I wonder what the most unnatural feature of this painting is—the woman's lack of facial features, her graciously propped up arms, or the green backdrop that tells us nothing about the woman or her environment.

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Daniela 

Mendelevic

Not-the-Simpsons-themed Marcus

A4 / Posca paint markers

This piece is an unnatural interpretation of the most natural type of drawing - that of a raw, unedited human body. The wonderful life model Marcus is drawn in two primary colors: yellow and blue. The piece is done using Posca paint markers on a white sheet of paper.

Adeline

Tsui 

Page 28

Black Pastel

Page 28 is a reference to the film ‘Portrait of a Lady on Fire’, which draws on the journey of intimacy that naturally grows between a sitter and an observer. 

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Resolve

Acrylic on plywood

An impression of a life model painted with violent knife strokes. I hoped to articulate the ever-changing and dynamic process of observation- and as part of that, how to distinguish foreground from background to establish an understanding of form. Painted from life.

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Luisa

Dufrene 

Handled 

Ink print of a metal etch plate 

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Unbounded

The drawing aims to capture the natural body, femininity and identity as the model wants to be portrayed

Tiffany

Nasirian

Nude

A3 / Charcoal and Pastel

Nude is about the raw and delicate lines that make up the form of the female body. The strokes that shape our silhouette and etch our skin give hints about the details of our lives and the stress we feel over time.

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Zoe

Andrews

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Max 

Livesey 

Untitled 

A4 / Gouache on paper 

 

My work is concerned with the male body, with a view to questioning the nature of masculinity through the representation of the male form. With this watercolour I wanted to reinterpret the male body in a natural way, highlighting vulnerability and fragility in the male form, which are not often considered in traditional representations of the male body.

Tap for the NHS

165 * 135 cm / Oil painting 

Thomas

Peach

No mother: woman and doll

A2 / Pencil

At first glance this piece appears reassuring: the most natural of scenes—a mother and child—rendered in a decidedly classical style. Upon closer inspection, the woman’s elevated and distanced gaze becomes apparent. The realisation that the babe she cradles is a doll force us to consider a more unsettling narrative.

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Xiaoxi Ma

Where is

the Body?

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About me

A medical student fascinated by the intersection of anatomy in science & art. I have always found the human body beautiful, especially when in motion or precarious equilibrium

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Amy 

Zhang

Human Strength

A2 / Charcoal on newsprint
 
This life drawing, although created very quickly with five very quick poses (two are squiggles and done in five and three seconds!), illustrates, I feel, the natural strength of our bodies and the beauty of line and spontaneous marks. For me personally, most of my favourite and most surprising life drawings are produced in the 'warm-up' sketches and activities.
Submission: Both Exhibition and publication  

Suzanne Van Noordt

Print of skeleton man

I wanted to block-print a portrait because I always think the contrast is interesting in faces. It’s effectively trying to create a face by carving holes into it. Very literally so for this unnatural man.

Claudia

Liang

A Pointe in Time

A4

Sarah Lamb as Manon (ballet) performing a movement known as attitude croisée, forming precise lines whilst retaining a soft quality. Captured in time is an example of how beautiful, expressive and natural a movement appears, whilst the body’s bent into unnatural positions.

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Inés

la Casta 

Gaze

A5  

The art piece is divided into three parts showing parts of a body (face, back and arm). The three parts come together in a special way as they are the consequence of a movement of the model as well as the movement of the gaze, the eyes of the person looking at the drawing. 

The nudity of the drawing, emphasized by the remaining pencil touches and the simplicity of the basic black and white contrast, is a reflection of the model’s nudity. However, this is not a representation of a perfect or flawless skin, but rather of the muscle shapes that define the forms of the human body. The beauty of the human body has no limits and can be represented in infinite ways. These are three harmonious images of some parts of the human body. 

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(B)Lydia Popplewell_Robots dont sleep.jp

Lydia

Popplewell

Robots Dont Sleep

A2

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