In Tiny Dancer, Dallas artist Frances Bagley suggests the human body through semi-abstract forms that she shrouds with an opaque membrane reminiscent of skin or clothing. Bagley's use of draped forms speaks to her interest in fabric, both as a means for covering or disguising a form, and as a means for making a form visible and identifiable through expressed style or demonstrated affiliation.

In her practice, the artist uses scale and material to allude to the human body, without ever fully rendering a complete representational figure. While she is interested in the human form as a universal subject, her use of abstraction disrupts our ability to fully recognize the figure, pointing to a disjunction between true identity and the identity one wears in public.

Excerpt from

Elise Armani, DMA Label text, Body Ego, 2018.