Louise Bourgeois' Arched Figure, a series of works created in the early 1990s and later cast in 2010, stands as a testament to her innovative exploration of psychological and physical extremes. Bourgeois, known for her introspective and cathartic artistic practice, used a variety of materials over her career, including bronze, fabric, wood, and metal. Her sculptures often delve into themes of sexuality, family, trauma, and anxiety, drawing heavily on her own life experiences, particularly her complex relationship with her parents.

One notable piece within this series, Arched Figure No. 1 (1997), is crafted from fabric, rubber, and steel, illustrating Bourgeois' adeptness at conveying strong emotions through diverse materials. This particular work, made from pantyhose-like fabric stretched over chicken wire, is emblematic of the artist's later career when she turned to found fabric as a primary medium. This shift was partly due to the practicality of sewing as a technique she could manage in her later years, repurposing bits of old clothing, sheets, or towels to create emotionally potent figures.

Bourgeois described the arched form—a recurring motif in her work—as representing the "arch of hysteria, pleasure, and pain," a physical manifestation of extreme emotional states. The Arched Figure sculptures blur the lines between ecstasy and pain, pleasure and hysteria, underscoring the complexity of human emotion and the body's role in expressing it. The works are reminiscent of both historical depictions of hysteria and ancient fertility figures, yet they are uniquely modern in their execution and conceptual depth.

The Arched Figure sculptures have been part of numerous exhibitions, evidencing Bourgeois' lasting impact on contemporary art. Her ability to navigate between the realms of the psychic and corporeal, using her art to probe the depths of the human condition, solidifies her position as a pivotal figure in 20th-century art. Bourgeois' work challenges viewers to confront their own vulnerabilities, making her sculptures not only visually arresting but also deeply resonant on a personal level​ (The Museum of Modern Art)​​ (ICA Boston)​​ (Art Gallery of NSW)​.