Jenny Saville

[5] John Gray commented: "As I see it, Jenny Saville's work expresses a parallel project of reclaiming the body from personality.

She partially credits her interest in big bodies to Pablo Picasso, an artist that she sees as a painter that made his subjects solid and permanent.

[9] At the end of Saville's undergraduate education, the leading British art collector, Charles Saatchi, saw her work at Clare Henry's Critics Choice exhibition at the Cooling Gallery in Cork St and purchased a painting.

[11] Rising quickly to critical and public recognition and emerging as part of the Young British Artists (YBA) scene, Saville has been noted for creating art through the use of a classical standard—figure painting, but with a contemporary approach.

[13] Her published sketches and documents include surgical photographs of liposuction, trauma victims, deformity correction, disease states and transgender patients.

[14] Much of her work features distorted flesh, high-caliber brush strokes, and patches of oil colour, while others reveal the surgeon's mark of a plastic surgery operation or white "target" rings.

In 1994, Saville's painting Strategy (South Face/Front Face/North Face) appeared on the cover of Manic Street Preachers' third album The Holy Bible.

[20] The band's James Dean Bradfield said the decision was "utterly bizarre", and commented: "You can have lovely shiny buttocks and guns everywhere in the supermarket on covers of magazines and CDs, but you show a piece of art and people just freak out".

In Saville's more recent work, she employs graphite, charcoal, and pastel to explore overlapping forms suggestive of underdrawings, movement, hybridity, and gender ambiguity.

[22] Saville states, "If I draw through previous bodily forms in an arbitrary or contradictory way; ...it gives the work a kind of life force or EROS.

"[27] In an interview for the Saatchi Gallery, Saville comments "I have to really work at the tension between getting the paint to have the sensory quality that I want and be constructive in terms of building the form of a stomach, for example, or creating the inner crevice of a thigh.

[32] She also uses interesting, muted colour combinations for her art pieces that create a soft atmosphere free of harshness with an intense subject and meaning behind it.

[32] Other complementary analyzes have been proposed on the technique: While drawing upon a wide range of sources it is normal that a painting "capture a sense of motion and fluidity.

[33] "She found a way to niche gender studies within a late flowering of the grand tradition of the swagger portrait ... Saville's provocative twist was to extend the bravura technique and monumental scale of such painting to naked and isolated (or in some cases sardined) young women".

[35] Saville is also known for her use of massive canvases that allow the viewer to see the details and layering of oil paints to create her signature aesthetic of movement and abstract realism.

"[38] "A confrontation with the dynamics of exposure ... her exaggerated nudes point up, with an agonizing frankness, the disparity between the way women are perceived and the way that they feel about their bodies" (Suzie Mackenzie).

[37] This "aesthetic of disgust" pushed people to the uncomfortable and forced many into the shoes of countless women in the Western world, giving some the autonomy to decide their own standard of beauty beyond society.

[27] Scholars like Loren Erdrich argue there is a direct link between the physical body, identity, and the self presented within Saville's subjects.

Saville's subject, non-idealized bodies, have been understood as superposition of mental and emotional mindsets: "if we could see through our skins our psychological injuries, then the process will be clear: every injury and excess is hiding from the surface (in every successfully avoided blushing) it goes to our inner body (where it avoids to be noticed)" (Luis Alberto Mejia Clavijo).

Through detailed, frank and unapologetic investigations of the human body, dialogues occur between past and present, and are animated by questions of gender, suffering, and ambiguity" (Asana Greenstreet).