The portrait displays a Jane or John Doe. It exposes the body in a violent movement and tragic expression. — *Body Study 83*
*Acrylic on paper*
*25 x 25 x 0.1 cm*
*2022*
*Collection: Human Body*

As a creator, I’m interested in abnormality and its impact on human life. To make up this artwork, I made up a research of people that live conjoined lives. I created this piece with deep respect and empathy towards these people. — *The Bond. Study of a Portrait*
*Acrylic on canvas*
*120 x 80 x 2.0 cm*
*2021*
*Collection: Human Body*

The gaze of the nude characters intend to provoke an emotional response in the observer. This to include him or her in their tragic condition. I took this portraiture's principle of art from Rembrandt's "Syndics of the Drapers' Guild", where the characters stare at the observer and that action makes the latter participate in what's happening in the masterpiece. — *Bodies Study 63*
*Acrylic on canvas*
*120 x 80 x 0.1 cm*
*2019*
*Collection: Human Body*

As a creator, I’m interested in abnormality, deformity and its effects in human life. The persons that lose one of their five senses or were born missing one of them call my interest. I explore and investigate their lives. This initial information helps me develop my work. I created this piece with deep respect and empathy for these persons. — *The Deaf Man 7*
*Digital Painting*
*2021*
*Collection: Human Body*
*Post*

The character in this artwork has an emotional state. So, that being said, its motivations is something I leave to the observer to interpret. — *Woman in Brown Study 8*
*Acrylic on canvas*
*80 x 60 X 2.5 cm*
*2021*
*Collection: Human Body*

Some of my art interests are dramatic scenes related to people being interviewed. I based this work on the fearsome illness known as schizophrenia. I used various video stills from a true documentary (1) where a doctor performs a collective interview to various patients where one of their symptoms is present: wax flexibility. — *The Interview 5*
*Acrylic on paper*
*95 x 68 x 0.1 cm*
*2019*
*Collection: Portraits*
Post & *Video*

The influences of artists upon other artists. This time the work of Eadweard Muybridge (1830-1904, England) amazed me. I based my work on his motion-picture photographs. — *Study of a Body in Brown 5*
*Digital Painting*
*Proportion: 27 x 20 cm*
*2021*
*Collection: Human Body*
*Intervened prints*
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As a creator, I’m interested in deformity and its effects on human life. The persons that lose one of their five senses or were born missing one of them call my interest. This initial information helps me develop my work. I made this piece with deep respect for these people. — *The Deaf Man 14*
*Acrylic, digital painting*
*2021*
*Collection: Human Body*

The nudity of this body appears to show its state of defenselessness. What inspired me this artwork are the photographs of Toby Burrows’ series, “Nothing to lose”. — *Body Study 7*
*Oil on paper*
*30.5 x 22.8 x 0.1 cm*
*2017*
*Collection: Human Body*
*Post*

This is an eerie, black painting that recreates a haunting scene in a dungeon. Somewhat a dramatic slumber. — *Bodies Study 19*
*Oil, acrylic on canvas*
*120 x 70 x 0.1 cm*
*2017*
*Collection: Human Body*

I tried to make a dramatic artwork by using firm lines in the foreshortening and exalting the nudity of the model. — *Study of a Nude Body 25*
*Charcoal and oil on paper*
*35.6 x 43.2 x 0.1 cm*
*2021*
*Collection: Human Body*

The character in this artwork has an emotional state. So, that being said, its motivations is something I leave to the observer to interpret. In most of my work, I make up a digital version which I do before or after the traditional version. This artwork is no exception. — *Woman in Brown Study 7*
*Digital Painting*
*2021*
*Collection: Human Body*

The frantic behaviour of this anonymous man in a psychiatric asylum deeply impressed me. I watched him on a film done decades ago. His story, still “talks” to us… The man in yellow, the man in pain. — *Man in an Asylum 4*
*Digital Painting*
*2021*
*Collection: Human Body 1*

This multiple body-the bodies of a bicephalous-made up by a whitish and blue bi-chromatic mass, almost like a clay sketch prior to the volume of the sculpture, shows its painful nudity. Added to this is the daily life of a dialogue between the two characters that is interrupted by the observer’s gaze. — *Bodies Study 10*
*Acrylic on paper*
*55.6 x 74.9 x 0.1 cm*
*2017*
*Collection:Human Body*

Fatness is a human condition that, in arts, is a splendid topic to work with. The generosity with which an overweight body exposes itself, displaying its carnality, is magnificent. — *Body Study 82*
*Digital Painting*
*2020*
*Collection: Human Body*
*Post & Video*

The strange pose of the model in a workshop inspired me to make this drawing. — *Kneeling Woman 15*
*Charcoal on paper*
*35.6 x 43.2 x 0.1 cm*
*2021*
*Collection: Human Body*

In this work I tried to grasp the dramatic gesture of the woman. I associated her demeanor with a verse from a song of Omeria: “Allí amé a una mujer terrible...”. (”There I loved a terrible woman...”.) — *Kneeling Woman 17*
*Acrylic, oil on paper*
*43 x 35 x 0.1 cm*
*2021*
*Collection: Human Body*

In this painting, I looked forward to create the gaze of a nude male posing in a disturbing pose, and by that action making the observer take part in what’s happening in the piece. — *Body Study 12*
*Acrylic on paper*
*61 x 74 x 0.1 cm*
*2017*
*Collection: Human Body*

As a creator, I’m concerned in abnormality and its effects in human life. The persons that lose one of their five senses or were born missing one of them call my interest. — *The Deaf Man 9*
*Digital Painting and oil on paper*
*2021*
*Post*

The artwork is my interpretation of one the scenes of the story, “The Hell So Dreaded 1” (1) by Juan Carlos Onetti (Uruguay, 1909-1994): “La primera carta, la primera fotografía, le llegó (a la oficina) entre la medianoche y el cierre. (La) vio por sorpresa, no terminó de comprender, (pero) supo que iba a ofrecer cualquier cosa por olvidar lo que había visto.” (The first letter, the first photograph, arrived (to the office) between midnight and the closing time. (…) He saw it by surprise, and did not quietly understanding it, but he knew he was going to offer anything to forget what he had seen.) — *The Hell So Dreaded, 1*
*Acrylic Painting*
*48.3 x 61 x 0.1 cm*
*2021*
*Collection: Human Body*

*Body Study 8*
*Acrylic on paper*
*100 x 70 x 0.1 cm*
*2003*
*Collection: Human Body*

The work of the British photographer, John Coplans (1920-2003) amazed me. This work is based on his photo “Self Portrait: Torso With Large Upper Arm II", 1985. — *Body Study 62*
*Crayon & oil on paper*
*28 x 21.3 x 0.1 cm*
*2019*
*Post*

My work intends to picture life with its sometimes dark, dramatic, incomprehensible ways of presenting itself. I try hard to make art that has polysemy or different interpretations by the observers. So, I only point in a direction without defining a destiny. The journey has to be made by the re-creator. — *Woman’s Torso 14*
*Digital Painting*
*2021*
*Collection: Human Body*

As an artist, I have always been interested in abnormality and its effects on human life. I based this work on a series of public photographs of human fetuses. They stroke my attention because of its composition, colors, dramatic poses and their strange beauty. I made up the work with great respect towards the tragedy of these never born creatures. — *Baby in Yellow 3*
*Digital Painting*
*2021*
*Collection: Human Body*
*Post*

Portrait of a woman. — *Woman’s Body 25*
*Digital Painting*
*Proportions: 20 x 27 cm*
*2018*
*Collection: Human Body*

I attend to workshops where physical models pose to the participants, but during this Covid period, I haven’t had the chance to do so. So, what I do, among other activities, is remembering these past exercises, and draw/paint them by heart. In most of them I try to achieve the gesture. I invite you to watch a 1 min video where you can appreciate the process of the artwork at https://www.patreon.com/posts/45864748 — *Gesture 6*
*Digital Painting*
*2021*

These paintings operate in a diptych, which means they flow together to form a single unified scene with a narrative that bonds them. They search to have a strong sense of visual coherence. — *Two Studies for a Portrait 5*
*Oil on paper*
*22.8 x 30.3 x 0.1 cm each piece*
*2017*

Human Body Artwork — *Body Study 14*
*Oil on canvas*
*120 x 100 cm*
*2017*

Title: Female Body Study 10 Media: Oil & crayon on paper Year: 2003 Dimensions: 90 x 60 cms veronica.mx @HuacujaVeronica — *Female Body Study 1*
*Oil & crayon on paper*
*90 x 60 x 0.1 cm*
*2003*

I pictured the character of this work with great dynamism and in an emotional state. — *Woman in Green 3*
*Digital Painting*
*2021*
*Collection: “Human Body”*

The artwork is a rushy acrylic painting with dramatic dark strokes. One of the things I try to portray is the dynamism of the figure. I title many of my works with abstract names without attending to the drama they show. This is an influence I have from the great 20th century painter, Francis Bacon. — *Body Study 67*
*Acrylic on paper*
*34.5 x 46 x 0.1 cm*
*2019*

I attend workshops where I practice the human body with a physical model. Days after, I rehearse those exercises by heart. This activity is a warm up training, where I try to remember the original model exaggerating its gestures. I practice this previous activity using the digital or traditional techniques, such as acrylic on paper. This artwork is one result of these activities. — *Body Study 68*
*Acrylic on paper*
*46 x 33.2 x 0.1 cm*
*2019*

With a certain concept of a female’s body I began sketching. Little by little, the body began to take shape, offering itself. The results, as most of my work, is dramatic. — *Woman in Orange 7*
*Digital painting*
*2021*
*Collection: Human Body*

*Body Study 64*
*Acrylic on paper*
*67.8 x 47.7 x 0.1 cm*
*2003*

In this portrait I looked forward to create the gaze of the male nudes to provoke an emotional response in the observer. This to include him/her in their tragic condition. I took this principle of art from Rembrandt's "Syndics of the Drapers' Guild"*, where the characters stare at the observer and that action makes the latter participate in what's happening in the piece. — *Bodies Study 75*
*Oil, acrylic on canvas*
*120 x 80 x 1.5 cm*
*2020*

There’s a folk singer-songwriter called Lhasa de Sela (1972-2010). She was born in America and raised in Mexico. One of her songs, “The Desert”, sang with her deep, husky voice, was the inspiration for this artwork. — *Woman in Red 5*
*Digital Painting*
*2020*
*Collection: “Women”*

I created this artwork after studying the body of art of the English-American photographer, Eadweard Muybridge (1830-1904), who analyzed bodies (animals and humans) in motion. — *Deformed Body in Movement 12*
*Digital Painting*
*2017*

One important thing to achieve in drawing or painting the human body is the dynamism that the figure must have, no matter if it is at rest or in movement. — *Body Study 65*
*Crayon & oil on paper*
*20.8 x 21 x 0.1 cm*
*2019*

The artwork was made out of a physical model. — *Woman’s Torso 12*
*Oil on paper*
*95 x 70 x 0.1 cm*
*2021*
*Collection: Human Body*

Just after admiring Eadweard Muybridge’s (1830-1904) body of art, I tried to picture the character of this work with great dynamism and in an emotional state. So, that being said, the character’s motivations is something I leave to the observer to interpret. — *Woman in Brown Study 6*
*Digital Painting*
*2021*
*Collection: “Human Body”*

As a creator, I’ve always been concerned with abnormality and its effects in human life. To create this work, I read and watched testimonials of persons united in the same body living “intersected lives”. I created this work with deep respect for these persons. — *Bicephalous Study 8*
*Acrylics on cardboard*
*63 x 76 x 0.2 cm*
*2022*
*Collection: Human Body*

Human Body Artwork

Thank you for visiting this collection. You're welcome.

One thing I say with humbleness is that I paint what human life unhides at certain moments and permits me to palpate. Sometimes–when this happens–it is the extraordinary that unfolds, plentiful with deformity and drama. I seek to capture this deranged beauty with polysemous meanings. Within these results, I always search too... to cause a visual impact, a blow, a strike upon the soul of the observer.

My Art Initial Resources

As an artist-in every artwork–, I use all the resources I have in hand. This means that I indistinctly use resources, such as human models, digital photography, chronophotos (video stills), digital images, radiology image archives, clay and also digital sculptures (done in Blender) and traditional techniques: oil, acrylic o canvas or on paper. The aforementioned means that almost any media can be an initial resource for my work.

Sometimes, I even mix traditional techniques (oil, acrylic) with digital art, such as in Head Study 76. The process of this piece is interesting. I sculpted a human head in Blender (open-source 3D software), duplicated it and merged both pieces. In the same environment, I explored the work from different points of view, such as profile, above, and below, etc. I then selected the one I liked most. I used the final image as an initial source to paint this portrait in a physical environment with oil on paper.

Art Techniques

The techniques I use are traditional (oil and acrylic, crayon, pencil, clay sculpting, etc.) and digital painting (digital tablet, Photoshop, 3D sculpture, etc.).

My Art for Sale (Payments only through PayPal)

ORIGINAL PAINTINGS. Send me an email if you’re interested in acquiring any original painting or visit:

https://sala-marte.com/collections/veronica-huacuja/

saatchiart.com/huacujaveronica

INTERVENED PRINTS BY THE ARTIST. I apply acrylic brush strokes (with no structural changes) on the print, as well as adding my original signature. In this way, the piece becomes unique (like an original) and increases its commercial value (your art investment).
Serial intervened prints: Only 10.
Max. size: 33 inches wide by tall.
I will deliver the print with its Certification of Authenticity (COA), and protected with wax non-acid paper, rolled and packed in a wooden crate.
Ask me for a quote through an email

REGULAR PRINTS. If you’re interested in regular prints, send me an email.

Other activity: Online Art Instruction

I’m an online art instructor for company groups–to reduce stress and enrich their lives using MINDFULNESS–and individuals. So, for those interested, head over to patreon.com/veronicahuacuja or contact me through art@veronica.mx

I teach in traditional and/or digital techniques.

I invite you too to read “Why Become my Patron" (first button on the right).

Your Comments

If you have any comments or questions please send me an email. I'll be happy to answer ASP.

My Social Media

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Twitter: HuacujaVeronica

Facebook: veronicahuacuja

Youtube: Veronica Fine Art

email: art@veronica

Thank you for visiting and reading this section: Collection: Human Body.