The earth that is disembowelled, its gaping sides constrained by railings, the hole that is concreted, the pillars that emerge and the compact mass of a building emerging from the void. It is in the tremors of an enormous construction site that Elia Kleiber took hold of her subject, in the harshness of this universe where the machine and the material impose their laws, she observed the army of the builders of the shadow, workers, laborers, companions that we do not talk about. They work at the beating heart of globalization. Those in Rome or in ancient Greece were employed as slaves or foreigners in the construction of colossal buildings. The artist tried to capture the precision and economy of the gestures, the tension of the bodies braced under the load, the challenge to emptiness, the power of the movement of the hands. (... / ...) The very performances which were those of the athletes celebrated at the Games of Delphi and similarly, of the sportsmen of today. The heroes of the stadium, but without supporters and without medals, far, very far from the media fury, these are the ones that the painter has glimpsed at every turn of the site. This reality, Elia Kleiber portrays it in large episodes on the raw canvas, in a connivance between painting and photography.
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