Abstract Digital Bum



Matisse Nudes

The cut-outs are one of my favourite things. They are so simplistic in colour, style and appearance, when actually, they are extremely complex due to the process of learning about the figure and shape of the human body in order to understand it. It is phenomenal to then end up with these abstract outcomes that are saturated with knowledge and creativity.

(from Left) Small Torso, 1929. Bronze, height: 9cm. Small Thin Torso, 1929. Bronze, height: 7.8cm. Forms. White Torso and Blue Torso (Jazz), 1944. Stencil. p10-11

The link between the cut-outs and sculpture is strong, and with these images, you are able to see the almost literal translation. It makes you wonder which had more of an influence. Was is the cut-outs that informed the sculpture, or the sculpture that informed the cut-outs? With the cut-outs themselves, it is quite nice to see the use of both the positive and negative space. (This method could also be used to produce prints)

With these images, you can see clearly the journey of constantly going back over a design; re-positioning and redrawing the same image in order to get the final result. It looks as though the contortion is being subject to an experiment. Trying to see what the body can do that looks unreal, almost unbelievable.

Blue Nude IV, 1952. Gouache cut-outs, 102.9 x 76.8cm. Musee Matisse, Nice.


I love all of the Blue Nudes, but this one particularly stood out to me because you can still see the pencil marks underneath the final cut-out. These pieces always look very instinctive so it is interesting to be able to see the planning that went into the final image, and how the appearance altered over time as it was worked on.





Standing Blue Nude, 1952. Stencil



The construction of the figures intrigues me because each body is divided up into separate pieces. ‘Standing Blue Nude‘ shows a very simple divide of body parts; the legs are separate, the torso and head are attached but separate from the arms. However, other examples show even more dissection. Layers are built up, overlapped and placed next to each other to reconstruct the new blue figure.


All images from this blog post were sourced from –

Néret, G. (2006). Henri Matisse: Cut-outs. USA: Taschen.


Matisse Nudes

Jamie Frost – Lie Of The Land

Jamie Frost a figurative artist that produces drawings, as well as sculptures. I have only seen two of  his small scale sculptures, but it is his drawings that have me spell bound! They are incredible both in scale and with detail. He manages to keep your eye moving continuously throughout viewing one piece of his work.

silent disco
Silent Disco 2014, archival ink pen on paper.

The grey-scale pieces are remarkable and the depth that is created; you could reach out and touch the subject and it be a real person.

Interestingly, the artist draws the initial shape of the form using charcoal, applying it as a base to work up from. This creates shadow and an outline to work to. Ink fine writers are then used to create the detailed marks. The marks are applied in long fine lines that echo the contours of the body; built up in layers and worked into to create dense areas.

It would be interesting to see what the figure would look like as just charcoal, and just as the fine writer marks.




Nothing to declare
Nothing to Declare 2015, archival ink pen and watercolour on paper

This piece had me flummoxed  for ages as up close i thought ‘that is a lot of paper for just two hands based at the bottom’. It was only when i stood back, i realised there was actually the rest of the figure on the paper as well.

It is done so subtly and delicately that you fail to notice at first. The wash background allows you to focus even more on the hands as the shading draws your eyes down to the points where the drawing seems to come to life.

This was one of my favourites at the exhibition.





falling woman-filtered
Falling Woman 2015, archival ink pen on paper.

This was one of the largest pieces in the exhibition. You cannot get a sense of scale from this image, but it was huge! You would have thought the detail would look ridiculous because you would have to scale it up, but actually it was perfect. It was dense enough to build areas of colour that looked like the contours of the skin and faint enough in areas where it faded out to much paler sections.

Whilst looking at some of the other pieces of work in the exhibition, i overheard the artist talking to a lady about his process. One of which was, for the colour drawings, when he is ready to start using his ink fine writers, he always begins with orange. I presume this would be because it is one of the paler colours, so he can build upon it with the rest of the colours, whilst also being able to see the basic outline of the figure much clearer.

Another area of interest for me is, you are always being told to not draw outlines when you are drawing from still life. You have to build everything up from shadow, applying layers. Whereas Jamie Frost does actually draw an outline. It is very fine and the colours change gradually depending on how the shadows are cast over certain areas. It is obvious that a lot of time was spent on this section (as well as for the rest).

These pieces of work are some of my favourite pieces of artwork i have seen in a long time!


Reference (all images) –

Frost, J. (c2015). Jamie Frost_Figurative Fine Art. Retrieved 27 March, 2016, from http://www.jamiefrost.com/jamie_frost/home_.html

Jamie Frost – Lie Of The Land

Abstract Bums

‘Abstract’ is something i am really drawn to because it is so expressive. It opens up a subject matter to interpretation and allows the artwork to be utilised in so many other ways once it is completed.

The type of ‘abstract’ i am used to is big, bright, bold lines and marks, and although i know the methods i have used here are quite reserved, this is the first time i have applied a theme to it, rather than leaving it up to serendipity.

I want to use this method more because it forces you to see shapes in a new way. Instead of just repeating the same thing, it pushes you to think about how they are constructed; what is impacting on their appearance, and also, what do you want to gain from the drawing. This is extremely useful, as i will eventually be translating these drawings into knitted textiles, therefore, i need more variety in the beginning stages, in order to make the rendition more interesting to make and view.

For the next steps of this method, i will add more colours and use other mediums to create a contrast in textures, to make it more fun to translate into knit!

Abstract Bums

The Bum

wpid-20140604_124129I have wanted to do a project about bums for as long as I can remember. They fascinate me because of the varieties of shapes, sizes and movements. Each bum is unique and possess different qualities.

I began last summer exploring the ‘Bum’. It started with a few sketches.

wpid-20140604_124309 wpid-20140604_124302 dscf9668-e1405713034854These sketches were taken from photographs I had captured of people walking around in cities. They were not posing for me, just carrying out their day to day business. This shows ‘The Bum’ in its natural environment (if that is even a thing). I feel these images show just how ‘The Bum’ moves and holds itself. The shapes interested me because they were not the stereotypical shape that you would expect.

dscf9667-e1405713060930 dscf9666-e1405713080344From these, I went on to draw some ideas of shapes from my imagination.

Ultimately, I am intrigued by the varieties of Bums there are out there, and I want to know why I am interested and also, what I would deem to be ‘The Bum’. The one that is my favourite and therefore most appealing.

The Bum