Reflections of Now (2012)

The living model, the naked body of a woman, is the privileged seat of feeling, but also of questioning… The model must mark you, awaken in you an emotion which you seek in turn to express. -Henri Matisse

[one_half padding=”4px 8px 0 4px”]It’s not especially easy being naked before someone you don’t really know; at least, not for most people. You stand there, exposed, feeling every slight draft of air on your skin, wondering if they’ve noticed that scar on your thigh from when you were six years old and got caught on the barbed-wire fence. You wonder not if but how they’re judging you: are your breasts too small or large or shaped funny? Is your skin splotchy? Can they tell how much you suddenly need to go to the bathroom? How do you tell them your period just started without being embarrassed?  Why is this taking so long?

For all the hoopla they sometimes create, especially in social media, implicit art nudes, or art nudes of any kind, are so far removed from anything sexual as to make the imposition of a sexual comment laughable. Artists, whether painters or sculptors or photographers, are consumed with the details of how to recreate or represent the totality of what is before them. Models are more than flesh and bone, but an architecture of emotion, experience, beauty, and humanity. How does one accurately capture all that in a single image in a way that communicates to the viewer everything the artist is feeling? The model, on the other hand, wonders if the pose looks as silly as it feels, if maybe she shouldn’t have had that burrito for lunch, and if she’s going to be done in time to let the dogs out before they mess on the carpet.

What implicit nudes do to the viewer, though, is challenge one’s perception of what is versus what may be. If one comes to an image from the perspective that all things are sexual, then one is going to perceive a sexuality where none was intended. If one approaches an image while consumed with a given emotion, one is going to find that emotion first and perhaps dominantly within the image regardless of what the artist sought to communicate. One of the greatest challenges in working with nudes is that the artist can only control what’s happening, what’s seen, what’s felt, what’s intended, as the image is created. We do not control the viewer’s experience.[/one_half]

[one_half_last padding=”4px 4px 0 8px”]Great art, some argue, is that which communicates its intended purpose regardless of when, where, or under what conditions it is viewed. When multiple generations  of people look at a piece of art and come away with the same or at least similar understanding then the artist did their job well and the work is worthy of commendation. Yet, all one has to do is show a five-year-old a picture of Michaelangelo’s David (assuming one probably isn’t close enough to visit the real thing), to see that one’s perspective of art is learned, not inherent. Amidst a flurry of giggles, they will gleefully point out that David is missing his pants. Depending on the child, “Ewwwwww” is likely to be their artistic critique.

That is not to say that great art does not inherently stir emotion within most everyone; there is a sense of awe that comes with standing in front of a painting so incredibly detailed as to seemingly lift off the canvas. A photograph carefully lit to emphasize a specific element while keeping other details shadowed draws us close and raises our curiosity. Abstract sculpture leads us to contemplate our perceptions of shape and construction even when we don’t understand those factors at all. Art does not require an education to have an impact on its viewer.

Art does require, however, that we approach it openly, honestly, recognizing our personal biases but having the ability to set aside that bias to see more of what the artist desired to communicate. Nowhere is that more true than with an implicit nude. There is much to be said in today’s picture about self-examination, self-esteem, and self-worth. We might ponder what the girl feels about the reflection she sees in the mirror, and how we feel when we look at our own reflection. Emotions in this image may run deep if the viewer is willing to take that risk.

If all one is seeing is sex, the problem doesn’t lie with the image but with the person viewing it.[/one_half_last]