Since my collection of vintage Playboy magazines contains hundreds of photographs of the female
body, I wanted to depict the feminine form through abstraction. My objective was to merely suggest the outline
of a woman; to evoke feminine sensuality rather than replicate it. The goal of this abstraction was not
to desexualize the source material, but rather to refute the notion that sensuality is inherently explicit,
graphic, or overt. I created my abstractions with an emphasis on two specific elements: line and contour.
body, I wanted to depict the feminine form through abstraction. My objective was to merely suggest the outline
of a woman; to evoke feminine sensuality rather than replicate it. The goal of this abstraction was not
to desexualize the source material, but rather to refute the notion that sensuality is inherently explicit,
graphic, or overt. I created my abstractions with an emphasis on two specific elements: line and contour.
For the line element, the artist from whom I drew inspiration was Bridget Riley, specifically her black and
white op art work from the 1960s. Through simple lines, curves, angles, and repetition, Riley was able
to produce sensations of movement, even supposedly evoking feelings of seasickness or skydiving.
Although they are disorienting and dizzying, her works are also oddly tranquil. The smooth curves, fine
lines, and overall precision involved in creating these optical illusions suggest a certain patience and
attentiveness. I was particularly inspired by the three-dimensional curved effect shown in the included
image:
white op art work from the 1960s. Through simple lines, curves, angles, and repetition, Riley was able
to produce sensations of movement, even supposedly evoking feelings of seasickness or skydiving.
Although they are disorienting and dizzying, her works are also oddly tranquil. The smooth curves, fine
lines, and overall precision involved in creating these optical illusions suggest a certain patience and
attentiveness. I was particularly inspired by the three-dimensional curved effect shown in the included
image:
For the contour element, the artist who inspired my abstractions was Ruth Asawa. Made from wire, her
sculptures are bulbous, fluid, and have always felt decidedly feminine to me. I used her sculptures as
reference when attempting to convey convex and concave forms. Although her sculptures are three-
dimensional, the delicate process of sculpting with wire is actually very similar to the way that I
approached my line drawings.
sculptures are bulbous, fluid, and have always felt decidedly feminine to me. I used her sculptures as
reference when attempting to convey convex and concave forms. Although her sculptures are three-
dimensional, the delicate process of sculpting with wire is actually very similar to the way that I
approached my line drawings.
By combining aspects of Riley’s line work with the contour of Asawa’s sculptures, I created abstract
drawings inspired by my Playboy collection. I decided to focus on close-up areas of photographs from
the magazine in order to create even more abstract forms. I experimented with both black ink on white
paper, and white ink on black paper. I actually think I prefer the black ink on white paper. It definitely took
a few tries to get the technique right, since I’m used to drawing in a more photo-realistic style. I’ve
included my last two attempts, which I believe are my most successful.
drawings inspired by my Playboy collection. I decided to focus on close-up areas of photographs from
the magazine in order to create even more abstract forms. I experimented with both black ink on white
paper, and white ink on black paper. I actually think I prefer the black ink on white paper. It definitely took
a few tries to get the technique right, since I’m used to drawing in a more photo-realistic style. I’ve
included my last two attempts, which I believe are my most successful.
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