A charcoal figure study of a body folded entirely forward — the nude figure seen from behind and slightly to the left, the torso bent so deeply that the head is at the same level as the buttocks, the spine arching in a tight convex curve, the whole body gathered into a ball-like form. The head is not visible — it is folded beneath the torso, hidden by the body's own mass. The buttock at the left is the composition's most prominent element; the foot at the lower right is given brief but specific toe treatment. The charcoal marks describe the back's curved surface with tonal softness: shadow at the inner curve of the spine, at the fold beneath the buttock, at the compressed zone between the body's halves.
The deep forward fold is the most extreme body-compression posture in the new portfolio — more inward even than the self-clutch of Works 1405 and 1430, more physically extreme than the backward arch of Work 1409. The body folds entirely over itself, the front of the torso and thighs pressed together, the back presented as a rounded hill. This posture in yoga or dance is sometimes called a forward fold or child's pose; in the figure drawing context it produces a composition of pure organic form, the body as landscape rather than person.
The charcoal's softness suits the posture's organic quality: the marks at the spine's curve build the shadow of the fold with the same gentle pressure as the pregnancy works (1469), the body's compressed warmth suggested by the medium's soft application on the warm ochre ground. The foot at the lower right — with its specific toe marks — is the one note of the figure's normal anatomy in a composition otherwise given over to compressed abstraction. The foot grounds the body in its human specificity even as the folded form approaches the purely formal.