Julia Paget-Teixeira

At the same time as my art history studies, I trained in painting and drawing. When you study Caravaggio, Turner, Raphael or Leonardo da Vinci, The path to complete mastery of your pencil or brush may seem futile. But the passion for technology brought me to various horizons. The work of matter and color took precedence over that of the line. Just the tiny feeling of satisfaction at the outline of a flattening of a feeling appeared to me as a possible quest. My work has often evolved according to my spiritual encounters with the greatest: a chiaroscuro by Caravaggio, a rouge by Titian, sfumato by Leonardo da Vinci, a sky by Turner ... or at the bend of an infinite path of the horizon, or the subtlety of a fading light. this is often where my obsession resides: materializing a note of hope, rebirth or renewal with a touch of light. I also often use the color of gold and metal leaves. gold, symbol of eternity and sacredness in ancient civilizations, is found in my canvases in the form of submerged cities, representing the speed at which all civilization can die out after long periods of decadence, sometimes up to the 'forgetting the use of their language (as for Egyptian civilization). We can see in my work lost cities, reinvented landscapes, forgotten sacred places. The materials and colors of my paintings blend together and respond to each other at the same time. I often oppose the sharpness of a motif to the general blurring of the work by affixing numerous glazes (thin layer of smooth and transparent color), a technique inherited from the Renaissance and Leonardo da Vinci, which often gives my paintings a sfumato effect, a "smoky" effect. I often finish this work with my finger, for me the only “instrument” that best translates this effect, finalizes my work and brings me even closer to the material. In love with infinity, guided by the reflection of light, my work is based on the abstraction of landscapes, where the horizon of reality becomes spiritual.