color combinations for her art pieces that create a soft atmosphere free of harshness with an intense subject and meaning behind it. 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. These restless images provide no fixed point, but rather suggest the perception of simultaneous realities". Kenny Smith. "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". David Cohen. Saville works with oil paint, applied in heavy layers, becomes as visceral as flesh itself, each painted mark maintaining a supple, mobile life of its own. As Saville pushes, smears, and scrapes the pigment over her large-scale canvases. 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. Aesthetics and subject matter Traditionally, Jenny Saville's nudes have been studied from the gender perspective defying "the traditional aspects of beauty and femininity. In fact, most of her nudes represent overweight or bruised women ... constant struggle between the female body and the body ideals contemporary pop culture has been trying to force upon it" (Marilia Kaisar). Meagher writes that Saville sees standards of "beauty and pleasure [as] deeply embedded within Western [culture]", yet, she constantly tries to challenge these assumptions of the body and beauty. Her nonconventional looks at beauty expands the traditional nude form into a way to comment on the body, gender politics, sexuality, and even self-realization. Her works often "depict distorted, fleshy, and disquieting female bodies" to provoke interest, confusion, questions, and excitement. Saville’s luscious yet grotesque treatment of painted bodies have elicited comparisons to Lucian Freud. "I paint flesh because I'm human", she has said. "If you work in oil, as I do, it comes naturally. Flesh is just the most beautiful thing to paint." "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). She plays upon the "ambiguity