Figure Drawing
Artist’s Statement
Lately I’ve been studying figure drawing as a way to deepen how I see and understand the human form. It’s taught me to pay closer attention to light and shadow, the flow of lines, and how shapes create balance and movement. My intention is for these lessons to carry over into how I approach photography—especially in the way I think about posing, dimension, silhouette, and composition.
In the past I’ve consistently found inspiration for my photography in the work of artists like Mark Rothko, Georgia O’Keeffe, Edward Hopper, and Isamu Noguchi. Each of them approaches form and composition in a way that resonates with me—whether it’s Rothko’s ability to create emotion through color and simplicity, or Hopper’s use of light and shadow. O’Keeffe’s focus on organic shapes and Noguchi’s sculptural sense of space have also shaped how I think about visual balance and negative space.
All of this comes back to how I want my work to feel. I’m interested in the small details that give an image its depth, and I see this study as a way of sharpening how I notice them. It’s an ongoing process, and I’m excited to keep carrying what I’m learning across disciplines and into future projects.
My study on anatomy is broken down into the various sections of the human body, first being the torso. The form and mass here are convincing and I’m satisfied with how the gesture flows even with the arms and head missing. But the range of values could be broader, especially the darks. Overall line quality also feels timid and lacking voice. Still, this piece feels like a solid foundation, and I can see where future studies will benefit from pushing contrast and experimenting with bolder marks.
My second study focuses on the legs and feet, aiming to understand balance, weight, and gesture through this lower section of the body. I’m happy with how I’ve captured the lift of the heels and the grounding of the toes. The highlights along the shin and ankle bring out the structure, though, similar to my torso drawing, the value range could be pushed further to make the forms more dimensional. Some transitions, especially around the shin and arches of the feet, still feel a bit abrupt.
This latest drawing is a study on arms and hands. I'm still struggling playing around with the highlights and finding balance with the shadows. I think the right hand came out pretty strong—the gesture feels alive and the white really helps the tendons and knuckles stand out. The left side doesn’t feel as finished, and the white looks a little separate instead of blending in with the tones.
Compared to my earlier studies, this feels a lot more confident. The proportions flow more naturally, and the shading has better contrast instead of staying in the midrange. The white highlights feel more intentional and add a nice sense of light, rather than just sitting on the surface. The forms are also less stiff—there’s more gesture and life in the way the hands are posed. I’m still figuring out how graphite and white pencil interact, but experimenting with them is helping me understand how to build depth and dimension.