The drawing depicts a strikingly unusual, damaged male torso, a representation that intertwines classical grace with a surreal, almost unsettling alteration. Crafted in loose strokes of charcoal on burnt, torn, damaged, textured paper, the image captures a blend of realism and distortion.
At the core of the drawing is the torso, distinctly masculine with its broad shoulders tapering down to a narrow waist. Milo rendered the musculature, with each curve and contour of the chest and abdomen, with a blend of strength and fragility.
This classical depiction is dramatically altered by the torso’s state. The figure is broken in half, a clean, almost surgical cut separating the upper and lower sections. This separation is jarring, introducing a stark sense of disconnection and loss. The two halves of the torso are slightly misaligned, enhancing the sense of unnatural interruption.
Adding to this surreal quality is the elongation of the torso. It stretches beyond natural human proportions, lending a ghostly, ethereal aspect to the figure. This elongation distorts the natural symmetry and balance of the human form, creating a visual dissonance that is disconcerting.
The upper half, where the head and arms would have connected, ends abruptly, the edges rough and jagged. This raw, unfinished quality contrasts sharply with the smooth, almost polished rendering of the chest and abdomen. The lower half, starting just above the hips, mirrors this abruptness, leaving the viewer to ponder the missing limbs and the stories they might have told.
Despite the damage and distortion, the torso retains a sense of dignified poise. The shadows and highlights across the elongated form create a play of light that gives the figure a lifelike quality, as if it’s caught in a moment between motion and stillness.
Overall, the drawing evokes a powerful contradiction. It marries the beauty of classical sculpture with a surreal, almost dreamlike alteration, inviting reflections on the nature of beauty, the impermanence of art, and the human body’s portrayal through the lens of time and imagination.
This painting is shit. It was accidentally glued to a canvas and tore during the repair. It has coffee stains and foot prints. Most of the time it's stashed in some corner of the studio, serving as a platform for dirty rags and brushes. Instead of throwing it out I keep stabbing at it, just to see how bad it can get.
Milo