D'Almeida

D'ALMEIDA likes to say of his work that he celebrates love and seduction. The female body too, which is omnipresent in her work. This is how she declines it in so many lascivious poses, taking as models photographs gleaned from the Internet or taken by herself. But far from being satisfied with copying them faithfully, and undoubtedly aware of the risk of falling into the cliché, the impersonal, such as producing disembodied images, D'ALMEIDA transfigures them through color. Freeing herself from any naturalism, she then makes these breasts, these bellies and these buttocks explosions of color. It is then that these bodies vibrate with a succession of colored touches and take on flesh again under the artist's brush.

A work rich in colors which exalts the acrylic paint with which D'ALMEIDA knows how to vary the effects of matter, alternating opacity and transparency, and which associates the support with this undertaking of carnation of the original photograph. This is how she paints on accumulations of paper, ranging from the diaphaneity of tissue paper to the thickness of cardboard. A choice which is inspired by the palimpsest, this technique which consisted in the Middle Ages in de-inking a parchment in order to rewrite new texts. The painter therefore also reuses papers on which a few words are sometimes still visible to rewrite feminine sensuality.

A way for her to celebrate love which is far from being as wise as an image, but knows how to be gentle and brutal, luminous and shady, precious and vulgar, sacred and profane.

Bertrand Naivin