Soft painterly impasto in warm flesh and stone tones. The background reads as marbled or plastered surface. Figure and ground feel made of the same material.
Standing glamour nude in front of a Victorian bed, in warm sculptural impasto, flesh tones and plastered surface sharing the same painted matter
Dark grey with cave-like grotto forms in the background. Hints of pink and mauve bleed through the stone texture. Cooler and moodier than Cool Slate.
Standing glamour nude in front of a Victorian bed, deep charcoal grotto atmosphere, cool and brooding with blushes of mauve
Pale cool ground with ghostly figurative forms emerging from the background. Soft and ethereal. The figure shares the space with phantom presences.
Standing glamour nude in front of a Victorian bed, cool-toned figurative work where forms dissolve into spectral, atmospheric haze
Pale grey and white with large rounded sculptural forms in the background. Light and airy. The figure feels set against polished stone.
Standing glamour nude in front of a Victorian bed, in a cool, luminous palette with smooth monolithic shapes suggesting polished marble
Warm ochre and flesh tones on the figure against a fractured white ground with bold blue and yellow colour blocks. The grid is loose and painterly rather than hard-edged. Energetic and immediate with strong graphic presence.
Standing glamour nude in front of a Victorian bed, bold colour blocking in ochre and blue on a broken white ground, immediate and gestural
Soft mauve and dusty pink with large rounded stone forms filling the background. The figure is warm-toned against a cool muted surround. The background generates a gentle grotto of pale organic shapes.
Standing glamour nude in front of a Victorian bed, dusty pink and mauve surround of large rounded stone shapes with soft grotto-like depth
Sandy ochre and warm stone tones with the background generating a clear arch and flanking walls that frame the figure in a niche. Painterly and naturalistic with strong architectural presence. The figure feels placed rather than imposed.
Standing glamour nude in front of a Victorian bed, soft brushwork in amber and ochre, figure nestled in a carved stone arch
Pale lilac and warm yellow with tall vertical brushstroke forms filling the background. The figure is rendered in golden flesh tones against the soft luminous surround. Light and airy with a distinctive period colour sensibility.
Standing glamour nude in front of a Victorian bed, pale lilac ground and golden flesh tones with tall expressive brushwork
Warm white ground with soft rounded cloud forms and dark charcoal scroll or ironwork patterns overlaid across the surface. Figure merges with the pale ground in warm flesh tones. The decorative scroll pattern gives the style a damask or wallpaper quality — soft and ornate at once.
Standing glamour nude in front of a Victorian bed, warm flesh tones merging with white ground, overlaid with ornate swirling ironwork in dark charcoal
Irregular fragments in blue ochre warm taupe white and rose cover the entire surface in a varied and energetic mosaic. Figure built from the same colourful planes with red shoes catching the eye. More saturated and lively than Crockery — the palette of a well-stocked tile market.
Standing glamour nude in front of a Victorian bed, bold fragmented brushwork in warm saturated blues, ochres, and rose
Pale blue and cream angular planes fill the background in large airy blocks — bright and open rather than heavy. Figure painted in warm flesh tones against the luminous cool ground. Light-filled and confident.
Standing glamour nude in front of a Victorian bed, luminous cubist planes in blue, cream, and confident warm tones
Flat irregular stone forms in cool grey-white with dark crack lines fill the background like a rendered stone wall. Figure painted in warm flesh tones with precise dark outline standing clearly in front of the flat pale ground. Clean graphic and architectural.
Standing glamour nude in front of a Victorian bed, in a crisp graphic style, warm tones contrasting a cool grey-white stone wall