Kiss Ass

Before even reading the blurb below the image I thought to myself "whoa this is really painterly', so I think you have great intuition in that sense. I would say be careful not to sort of cram forms into other forms. Not everything needs to fit perfectly. Some small deviation from the contour of one form in order to compensate for another isn't a bad thing. I'd also say, when combining and layering human forms especially, be consciencious of what implications lie within certain positions. Like, how does a face appearing on someones right glute appear to the viewer? What are the inferences are drawn from a face being on someones ass?

If you intend to make a painting focusing specifically on gesture and human form, i would say too that the face might not be your best friend here. If you want bodies and gesture, consider how much of the space within the composition is taken up by heads or floating heads, rather than bodies and gestures.

A couple of pertinent artists I would recommend looking at are Francis Bacon, specifically works like Triptych (1967), In Memory of George Dyer (1971), and derriere le miroir (1966), I'd also recommend, for something a little more contemporary, Chistina Banban, who's work is practically all overlapping female forms. I would hope that these references might give some insight into how far a form can be pushed, overlapped, and distorted before it loses its essential 'human-ness'.