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. These lessons 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 in the work of artists like David Hockney, 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 Hockney’s playful perspectives, 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 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 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 already 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.