AWAKENING gives a sense of invaded intimacy. The viewer catches the subject unawares, seated at the end of her bed, reaching out to untie a rather dishevelled pony tail.

The partially stylised human figure is not idealised, but carries little ‘defects’ which are especially evident in fat deposits around the lower abdomen and thighs. These areas contrast sharply with a relatively slimmer upper torso, complete with pronounced breast bones and thin neck.

The bed; partly bathed in bright morning light, also offers a stark dissimilarity to the warm ochres that compose the figure.

Keith Balzan