Elsewhere
This oil painting presents a striking female nude in a foreshortened perspective, emphasizing depth and proximity. The viewer's eye is immediately drawn to the hand closest to the foreground, rendered with detailed realism and expressive brushwork. From the hand, the forearm extends near the figure’s head, which is turned slightly to the side, revealing only the profile of her nose.
Her left breast gracefully falls toward her face, creating a soft, natural curve that leads the gaze downward along the contours of her ribs and belly. The torso's subtle shadows and highlights emphasize the anatomy’s volume and texture. The raised thigh occupies a central position in the composition, partially obscured by the crossing other leg, whose calf and foot extend further away, receding into the background.
This perspective captures an intimate, almost sculptural moment, where the foreshortening technique amplifies the figure’s three-dimensionality and spatial dynamics, inviting the viewer to engage with the painting through sharing this unique viewpoint.
Unframed Oil on Canvas Original
36" x 24" x 0.75"
"I love the time and in between
the calm inside me
in the space where I can breathe
I believe there is a
distance I have wandered
to touch upon the years of
reaching out and reaching in
holding out holding in."
(Elsewhere by Sarah McLachlan, from the album Fumbling Toward Ecstasy)
This oil painting presents a striking female nude in a foreshortened perspective, emphasizing depth and proximity. The viewer's eye is immediately drawn to the hand closest to the foreground, rendered with detailed realism and expressive brushwork. From the hand, the forearm extends near the figure’s head, which is turned slightly to the side, revealing only the profile of her nose.
Her left breast gracefully falls toward her face, creating a soft, natural curve that leads the gaze downward along the contours of her ribs and belly. The torso's subtle shadows and highlights emphasize the anatomy’s volume and texture. The raised thigh occupies a central position in the composition, partially obscured by the crossing other leg, whose calf and foot extend further away, receding into the background.
This perspective captures an intimate, almost sculptural moment, where the foreshortening technique amplifies the figure’s three-dimensionality and spatial dynamics, inviting the viewer to engage with the painting through sharing this unique viewpoint.
Unframed Oil on Canvas Original
36" x 24" x 0.75"
"I love the time and in between
the calm inside me
in the space where I can breathe
I believe there is a
distance I have wandered
to touch upon the years of
reaching out and reaching in
holding out holding in."
(Elsewhere by Sarah McLachlan, from the album Fumbling Toward Ecstasy)
This oil painting presents a striking female nude in a foreshortened perspective, emphasizing depth and proximity. The viewer's eye is immediately drawn to the hand closest to the foreground, rendered with detailed realism and expressive brushwork. From the hand, the forearm extends near the figure’s head, which is turned slightly to the side, revealing only the profile of her nose.
Her left breast gracefully falls toward her face, creating a soft, natural curve that leads the gaze downward along the contours of her ribs and belly. The torso's subtle shadows and highlights emphasize the anatomy’s volume and texture. The raised thigh occupies a central position in the composition, partially obscured by the crossing other leg, whose calf and foot extend further away, receding into the background.
This perspective captures an intimate, almost sculptural moment, where the foreshortening technique amplifies the figure’s three-dimensionality and spatial dynamics, inviting the viewer to engage with the painting through sharing this unique viewpoint.
Unframed Oil on Canvas Original
36" x 24" x 0.75"
"I love the time and in between
the calm inside me
in the space where I can breathe
I believe there is a
distance I have wandered
to touch upon the years of
reaching out and reaching in
holding out holding in."
(Elsewhere by Sarah McLachlan, from the album Fumbling Toward Ecstasy)