Lillian lies elegantly on her side; her torso is twisted; her legs contorted enticingly. The artwork is a subtle mix of erotic passion, and desire expressed through photography. Eroticism in art has been expressed through the mediums of painting, drawing, sculpture, and photographs.
Her right leg lays its side while her left one is gracefully bent on tip-toe. She extends her left arm, placing her manicured fingers gently on her knee. Her spine curves inward. The background is a vacant expanse of pristine white; a faint shadow below her figure lends a sense of gravity.
Part of Lillian is cloaked in shadow; but highlights illuminate the side of her torso, leg and face. Her dark hair seems to melt into the ground. Her limbs create a network of smaller triangles within the large triangle formed by her pose.
She looks down at her pose, revealing her face but not addressing the viewer. Her pose is effortlessly sensual; she is concealed and exposed at the same time. The piece explores her sexuality, sophistication and beauty. She seems aware of being observed, and enjoying the anticipation she is creating.
I have chosen to keep this image nearly colorless. The near monochromatic nude steers the viewer towards the lines and shapes. Black and white encourages the viewer to consider the creative process rather than merely the subject. The overall effect can be less voyeuristic than color images. Resembling a selenium toned black and white photograph, a range of warm grays are rendered among the lights and darks.
My inspiration is rooted in my formative years, studying twentieth century photographers such as Ellen von Unwerth, Herb Ritts, Helmut Newton, and Robert Mapplethorpe. Although some of these skewed towards fashion images, which did not interest me as much as the figure, I nonetheless studied the tones and compositions I would see in Vogue magazine. The common thread in my influences are photography of erotic passion and feminine desire.