THE INHERITANCE OF MATTER: ART UNDER CONSTRUCTION

Educated on construction sites since childhood alongside an ornamental plasterer father, I first learned the rigor of artisanal gesture, subjected to the heaviness of materials and drying times. My time in art schools was not a rupture, but an accumulation: the acquisition of a theoretical vocabulary that frees my gesture from utilitarian constraint and opens up narrative possibilities. My work is a construction site where these two educations coexist, collide, and negotiate through several protocols :

« I am here » (Cartes Series)

Born in the restricted space of a relocation, constraint pushed me to redefine a place as an artist. I then decided to implement a new creation protocol to reconcile what originated and moved my intentions all these years: a map of space and time.This protocol forces the rules of the construction site and the museum to coexist on an immutable format (29 × 29 cm). By pouring industrial paint, I frame my initial gestures with a fatty mixture, attempting to inhabit the square. I provoke a voluntary technical sabotage by superimposing lean over fat. The academic gesture then comes to colonize and structure this chemical accident, reintroducing fragments of human flesh where matter struggled.

Paint in Reserve (Respirations Series)

Here, liquid matter is reserved in plastic packaging to be deployed in series. Through an obsessive hyperrealist trompe-l'œil, I paint the constraint of a prefabricated paint placed on a geometric pedestal. The long execution time of the painting comes to contradict the production speed of industrial waste, capturing the final state of the paint.

The Samplings (Specimens Series & Carnet)

Inspired by anatomical waxes, I work like a collector. I sample fragments of the real — organic materials, objects, landscapes — cataloged clinically in a Notebook. At the center of the canvas, a building painter's spray gun projects mechanical and vaporous grounds. In this industrial fog, I hybridize the underlying shapes and meanings of my samples to create motionless specimens : mutant object-paintings pinned down as visual enigmas meant for observation.

Interstices (The Gap Between Protocols)

The rigor of protocols leaves spaces for gaps and experimentation. I gather transient pieces, hanging trials, and figure variations that precede or detach the systematic rules. In this friction zone, I explore new relations to space: an open laboratory where gaps directly nourish and test the rule.

Integration of the Biological Context (Le Perche)

The Subsistence Triptyc: Dwelling – Nourishing – Creating

The Apartment (Past era): an aseptic off-ground space ("White Cube") that generated the sterile, vacuum-sealed aesthetic of the Cartes and Respirations series.
The House & Vegetable Garden in the Perche (Current era): open construction site, raw bricks, OSB. The production of the garden and the renovation of the building share the exact same clinical and empirical rigor as the painting.
The Carnet compiles this global reservoir.

David Antonio Loureiro