Les deux font la paire 2, 2025

Anne De Renzis  

Born in 1979 Anne de Renzis has been painting since her childhood (at the age of 8 she produced copies of still lifes in oil). An abstract period followed with synthetic materials and the discovery of acrylic.
After obtaining her degree in Applied Arts from the Olivier de Serres School (Paris) in 1999, she entered the National School of Fine Arts in Bourges in 2001. She definitively focused on figurative painting and colorful contemporary, halfway between Manga, Pop and comics.
She has been exhibiting since 2002 while simultaneously pursuing a career as a communications manager in the field of architecture. She leaves her job to devote herself solely to painting.

Each painting requires a long preparation. His particular technique mixing aerosol, line drawing, acrylic and stencil cuts directly on the canvas, allows him to obtain clean, textured and hyper graphic visuals.

In front of the works of Anne De Renzis, we first wonder about our own gaze, about the register in which we approach them and the way in which this artist pushes back or moves the cursors of modesty, of the acceptable and political correctness.

His proposal here is a truly sophisticated graphic writing, responding to a secret and personal codification which just hints at the beginning of a universal meaning, which allows everyone to make their own interpretation of these fantasized subjects.
A particular signage directs the gaze and illuminates the discourse without determining it, the obliteration of the faces of certain models questions the link between anonymity and modesty, between the permissible and the unmentionable.

There is also a repositioned vision of the sexuality of the body in a society where it still appears as the first object of censorship, far ahead of violence, crime and war.
Where artists, novelists, directors depict violence, drama or war, she paints the body, sex and love according to an unbridled romantic vision.

The alchemy of her works, of which we only see a tiny part of the act that takes place, deliberately and definitively translates the look of a female artist, as much liberating as liberated, and whose aim is to appropriate Epinal's image of the woman as an object, subject to the problem of sex and its practice, its limits and its hopes, paradoxically makes us feel the emergence of a resolutely feminist art in its most beautiful version.