At the ‘drawing stage', the nude is a photocopy (more recently the photocopy is shifted during the process of copying to create distortion and blur) fixed to the surface of the canvas amid interior and exterior arrangements of space using acrylic paint. The arrangements of the nude may appear arbitrary or random but this would be a misunderstanding. Compositional decisions are both intuitive and conscious, focusing on pictorial and psychological relations between the figures, creating a tense symbiosis between an historical understanding of the nude through art history and a more personal or ‘felt' contemporary awareness. A drawing that ‘works' is then used to make a large dynamic painting. Peter Ashton Jones