I experimented with stronger lines and edges like featured on a futuristic machine.

Part of the roundism series. I wanted to have it as abstract as possible without losing the essence of the female body.

This backwarded position was ideal for my roundism style go bezerk.

I particularly like this one because of the cubist quality of the abdomen muscles and the compositionary division of the negative space in big planes.

This cubism-like drawing look rather like stained glass to me, now I look back at it.

Graphite pencil drawing of an art deco-like model. I liked the cubist quality of the hairs.

With this one I felt confident to explore the connection of the dominant figure with the negative space around it by incisions across both spaces. By extending lines through the direction of body parts I got geometric figures outside that mirror them.

I thought it would be appropiate to let the model disappear into the negative space all around her so she would be lying there, scattered across the floor and so I did.

I wanted to suggest evaporatation and transparency with this pencil drawing.

An experiment in flow and movement.

A continuation of the roundism series. I particularly like this one because I like the pose and the fluidity that speaks. It’s a kind of zig-zag pattern that appeals to me. It’s with a private collector from the U.S.

Variation 11 show a return to straight lines and planes. I wanted to put less stress on the body and more on the planes as a whole – in- and outside the body and communicating.

Variation nr 10 is an oddball. The flickering and the light bulbs in the joints almost create a kind of stellar constellation.

Variation nr 9 shows a further development and I felt more and more confident to show more. This one I found it to be a success and a prestudy for The Madonna of The Hague later that year.