Maura, 1972

Acquired directly from the artist (early 1970s) Private Collection, Halifax

David Silcox and Meriké Weiler, Christopher Pratt, Toronto, 1982, page 126

Strong imagery was the priority for the refined drawing of the artist, however in many respects identity played an integral role in these works. Pratt explains: “You can't ignore the individuality of people or overlook the details that identify their separateness as arrogantly as you can ignore irregularities that make a wall or room particular.” The sinuous form of the woman captured in “Maura”, emerges from the shadows as the buttery yellow pastel employed highlights the curves and long lines of the body. The body, however, is uniquely Maura's. Her positioning is natural and relaxed and although the artist has explained that he has constructed women from his imagination for other works, naming the woman in the title of the piece gives autonomy back to the woman rather than being another nameless artist's model.