My colour choice is intuitive. It’s highly charged and can have a strong emotive impact. My choice of colours is like an extension of the drawing in order to distinguish between the female nude and her environment. The female body is in the flesh, the fluid running out of the body is another material, therefore another colour and the outside is again another colour. The colour helps me describe the difference between the inside and the outside world of the female body. Gustav Klimt’s highly sensual and decorative portraits that are synonymous with female beauty and romantic love were a huge influence on my work. The flowing quality, the colours and detailed patterning are most certainly trademarks of my work. A striking two-dimensionality, influenced by artists like Hiroshige or Hokusai, surrounds my figures and places them in a ground, that, by negating space, may be regarded as negating time – and thus creating a female nude that embodies a timeless quality. My approach and techniques are closer to the realms of fine art, and therefore set my work on a different level than most typical illustrations. I try to produce the kind of images, which stop you in your tracks, hold your attention, and prevent you from turning the page. My goal is to deliver a piece which is beautiful and distinctive and which is so congruent with the essence of the project that it manifestly advances its cause. I am looking for a deeper emotional response. I want people not only to see but to feel. Inside the grid #2
	back	next page