In the work Ftorm, Amy Tsui used pencil on paper to map out the curves of the human body. This in depth study of the human form suggests an interest in not a person or the emotional baggage that accompanies a living human being, but rather the space the body takes up. This is exemplified by the emptiness of the head. While careful and acute attention was placed on the curves of the rest of the body to the point that the figure almost takes solid form, the blankness in the head implies that the form is not a real person, but rather the empty space left by a person who has moved on.

The lines that make out the form lead the viewer to the idea of a topographical map as though the artist studied the body as a surveyor does the land. This investigation of the three dimensionality of the human form is especially successful in three distinct places, the knee, the backbone, and the shoulder blade. The knee could have proved a difficult challenge for the artist because of its location in respect to the rest of the body. Because other forms, the arm head and small bit of the other leg, encircle it, it could have easily been lost in the confusion of lines. The artist instead brought attention to it by paying special attention to the curves of the kneecap which proves to be so three dimensional, the knee instead stands out as an accurate representation of the human body. The line use here also provides the hint of a shadow below the kneecap as the lines move closer together. The backbone is yet another good example of accuracy and creating shadow without shading. The bone protrudes obviously from the muscles of the back and completely splits the surface of the back in two. While at first glance it looks as though a single line has been drawn down the crest of the spine, on closer examination it becomes obvious that each line continues on the other side of the back. The shadows created here are some of the most apparent and provide exceptional three-dimensionality for the work. The most striking use of shadow and topographical suggestion is in the shoulder blade. Though it is perhaps exaggerated, the bulge is the most obvious and lifelike curve in the work. The shadows are apparent on the left and back of the blade while the separation of lines on the front makes it seem as though the light is highlighting the space.

While the use of shadow is quite successful in the places mentioned, I feel it could have been employed to greater success in other areas of the figure. Based on the fetal pose and drastically emaciated look of the figure, I see this as an emotionally dark work. Because of this I find myself wanting more drastic shadows or simply a darker piece.