In her paintings, Eleanor Swordy untethers figuration from its historically constrictive role of subject matter and instead imaginatively repurposes it as a formal device. Round and sculptural, her bodies exist in dynamic space; uninhibited by conventional anatomy, perspective, and scale, they ground each composition and conform to each paintings’ inner architecture, cutting a path for the viewers’ eye to travel across the picture plane. Figures often move toward the outer edges of the frame as if by magnetic push, repeated reminders of her medium’s essential finitude.