THE INHERITANCE OF MATTER: ART UNDER CONSTRUCTION

Raised on construction sites from childhood alongside a stucco worker father, I first integrated the rigor of craftsmanship, subjected to the physical sanction of heavy materials and drying times. My time in art schools was not a rupture, but a sifting and layering: the acquisition of a theoretical vocabulary that liberated my gesture from utilitarian constraints to unlock narrative possibilities. My work is a construction site where these two educations cohabit, collide, and negotiate through several protocols:

« I am here » (Cartes Series)

Born within the confined space of a relocation, constraint forced me to redefine my place as an artist. I then decided to implement a new creative protocol aiming to reconcile what had driven the origin and momentum of my intentions throughout the years: a map of space and time.
This protocol forces the rules of the construction site and the museum to cohabit within an immutable format (29×29 cm). By pouring industrial paint, I outline the pre-existing trace of the fat-mixture gesture, in an attempt to inhabit the square. I provoke a deliberate technical sabotage by layering lean over fat paint. The academic gesture then colonizes and structures this chemical accident, reintroducing fragments of human flesh where matter was struggling.

Paint in Reserve (Respirations Series)

Here, liquid matter is reserved within plastic packaging to be deployed in series. Through an obsessional, hyperrealistic trompe-l'œil, I paint the constraints of a prefabricated paint placed upon a geometric pedestal. The extended time of pictorial execution directly contradicts the production speed of industrial waste, capturing the final state of the paint.

The Samplings (Série Spécimens & Carnet)

Directly inspired by the aesthetics of anatomical wax models and in the manner of a collector, I harvest fragments of reality (organic matter, objects, landscapes) clinically cataloged in a Carnet. At the center of the canvas, a construction site spray gun projects mechanical and vaporous backgrounds. Upon this industrial haze, I hybridize my samplings to embody motionless " specimens ": mutant object-paintings, pinned like visual enigmas destined for observation.

Interstices (The Gap Between Protocols)

The rigor of the protocols allows for zones of gap and experimentation. Within them, I gather transitional pieces, hanging trials, and figure variations that precede or untie the systematic rules. In this friction zone, I test new relationships to space: an open laboratory whose gaps directly feed and put the rule to the test.

Integration of the Biological Context (Le Perche)

The Subsistence Triptyc: Dwelling – Nourishing – Creating

The Apartment (Bygone Era): This sterile, ungrounded environment ('White Cube') generated the vacuum-packed aesthetic of the Cartes and Respirations series.

The House & Vegetable Garden in Le Perche (Current Era): An open construction site, raw bricks, OSB boards. The produce of the garden and the renovation of the building share the same clinical and empirical demands as the painting process.

The Carnet compiles this global breeding ground.

David Antonio Loureiro