The reclining female nude continues to extend her long arm over figurative painting. Formally agreeable and subjectively compelling, she sprawls languidly across the horizontal axis of the canvasan alluring body in repose, inviting inquiry. The trope is also singularly affiliated with the legacy of male painters portraying female prostitutes. Brandi Twilley repurposed this art-historical motif as the locus of her most recent body of work, in which the artist re-creates fanciful figure drawings she made as a girl, inspired by the sex-worker protagonists of films such as Pretty Woman (1990) and Angel (1984). Her recent exhibition of these pieces included five large oil paintings and more sketch-like small oils delineated by fine marks and presented on highly buffed, gessoed grounds. Twilley situates her figures against tableaux remembered from her family’s home, which burned
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