Natasha Law’s vibrant blocks of gloss paint and descriptive lines characterise her svelte female figures. Often in an act of discarding clothing, her works beguilingly capture ephemeral moments of both vulnerability and intimacy. Tousled hair, the curve of a hip, or discarding clothing, the works allude to the privacy of domestic spaces and relies on the viewer’s own voyeuristic fascination to draw them into her intriguing vignettes.
It is her protracted process which creates the vibrancy in her works. She often begins with line drawings from her modelling sessions and determines where to zoom in and crop the image before transcribing the lines onto the aluminium panel. She then applies numerous coats of household gloss paint in a completely dust-free environment to achieve the flawless almost liquid like surface which has become part of unique style.
‘Looking Behind Her’ (2015) sees the figure turned completely away from the viewer. As a result, we are slightly shut out whilst also viewing the scene from a position that should render the figure vulnerable or exposed to us. Law explores angles and viewpoints that reduces the figure to essential shapes. The simplified forms become as much about the areas of flat colour as about the actual figure they constitute.
Her 2014 exhibition ‘Put it on Paper’ focused on paper as a medium, bringing together all the different ways she uses it in her practice through ink drawings, screen printing and large scale gloss paintings on paper. In ‘Head in the Clouds’ (2013) an elongated torso is caught in the moment of removing a top; the neutral tones of the body contrasting against the saturated gloss paint. She exercises a certain amount of restraint- never overstating areas, instead she allows her forms to materialise through her descriptive lines and intense colours. Law has become known for her figurative works of females often in an act of undress, provocatively capturing these fleeting moments of both vulnerability and intimacy.
Natasha Law was born in 1970 and lives in London.