THE VISUALIZED NUDE is a portfolio of 60 compositions exploring the idealized, classical figure, the nude as object, the nude as abstract design, the figure in the environment and the nude distorted.

The first group of photographs present an idealized depiction of the figure, emphasizing cool, classic proportions and traditional poses. Although there is a statuesque remoteness to some of these nudes, others are quite naturalistic and illustrate a more contemporary view of human beauty.

A second category of photographs objectified the nude to de-emphasize gender. The nude, juxtaposed with props selected for their symbolic value, raised questions of identity. This was the first time the artist introduced the masked figure into her work. Other images in this series showed the nude as just another object like a rusted-out, abandoned car or plow while other pictures considered the figure as an object observed by the artist.

The nude as abstract design defined a third category which considered the complex relationships between the human figure and ways in which it is affected by patterns of line and light as well as texture. Often light was used graphically to create dramatic visual patterns on the body. Repeated curves, angles and geometric or organic patterns were frequently emphasized and diagonals played a prominent role in these images. Also, many of these compositions exploited the tension created by the rectangular picture plane against the organic fluidity of the figure.

Photographs situating the nude in man-made and natural environments, encouraged the viewer to fantasize and become creatively involved in the drama of each scene. Indeed, these images inspire the spectator to complete the visual scenario provided by the artist.

The final group of photographs in this portfolio left tradition behind to explore the expressive qualities of the nude through distortions of it. These pictures looked at ambiguous relationships between forms, such as the smoothness of the surface of the living figure against the brittleness of its skeletal structure. The fluid distortions which result from seeing the figure in water and the way forms change when they are reflected in mylar comprised some of these images and provided a starting point for a complete portfolio of figurative distortions.