{"id":13428,"date":"2026-09-29T14:31:22","date_gmt":"2026-09-29T12:31:22","guid":{"rendered":"https:\/\/david-al.com\/?page_id=13428"},"modified":"2026-10-31T08:12:44","modified_gmt":"2026-10-31T07:12:44","slug":"demarche","status":"publish","type":"page","link":"https:\/\/david-al.com\/en\/demarche\/","title":{"rendered":"Statement"},"content":{"rendered":"

THE INHERITANCE OF MATTER: ART UNDER CONSTRUCTION<\/span><\/h1>\n

 <\/p>\n

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<\/a>\u202f: <\/span><\/p>\n

 <\/p>\n

\u00ab\u00a0I am here\u00a0\u00bb<\/b><\/a> (Cartes Series<\/a>)<\/span><\/h2>\n

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.<\/a>This protocol forces the rules of the construction site and the museum to coexist on an immutable format (29\u202f\u00d7\u202f29\u202fcm). 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. <\/span><\/p>\n

 <\/p>\n

Paint in Reserve<\/b><\/a> (Respirations Series<\/a>)<\/span><\/h2>\n

Here, liquid matter is reserved in plastic packaging to be deployed in series. Through an obsessive hyperrealist trompe-l'\u0153il, 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. <\/span><\/p>\n

 <\/p>\n

The Samplings <\/b><\/a>(Specimens Series<\/a> & Carnet)<\/a><\/span><\/h2>\n

Inspired by anatomical waxes, I work like a collector. I sample fragments of the real \u2014 organic materials, objects, landscapes \u2014 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<\/a> to create motionless specimens<\/a> : mutant object-paintings pinned down as visual enigmas meant for observation.<\/span><\/p>\n

 <\/p>\n

Interstices <\/strong>(The Gap Between Protocols)<\/span><\/span><\/a><\/h2>\n

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. <\/span><\/p>\n

 <\/p>\n

Integration of the Biological Context<\/strong> (Le Perche)<\/span><\/h2>\n

The Subsistence Triptyc: Dwelling<\/strong> – Nourishing<\/strong> – Creating<\/strong><\/span><\/span><\/p>\n

The Apartment (Past era): an aseptic off-ground space (\"White Cube\") that generated the sterile, vacuum-sealed aesthetic of the Cartes<\/a> and Respirations series<\/a>. <\/span>
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. <\/span>
The Carnet<\/a> compiles this global reservoir.<\/span><\/p>\n

 <\/p>\n

David Antonio Loureiro<\/span><\/p>\n

 <\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

Diptyque -Acolyte – Acrylique sur toile (63 x 29cm), r\u00e9alis\u00e9 par David AL, 2021<\/p>","protected":false},"author":3,"featured_media":14587,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-13428","page","type-page","status-publish","has-post-thumbnail"],"_links":{"self":[{"href":"https:\/\/david-al.com\/en\/wp-json\/wp\/v2\/pages\/13428","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/david-al.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/david-al.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/david-al.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/david-al.com\/en\/wp-json\/wp\/v2\/comments?post=13428"}],"version-history":[{"count":3,"href":"https:\/\/david-al.com\/en\/wp-json\/wp\/v2\/pages\/13428\/revisions"}],"predecessor-version":[{"id":14706,"href":"https:\/\/david-al.com\/en\/wp-json\/wp\/v2\/pages\/13428\/revisions\/14706"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/david-al.com\/en\/wp-json\/wp\/v2\/media\/14587"}],"wp:attachment":[{"href":"https:\/\/david-al.com\/en\/wp-json\/wp\/v2\/media?parent=13428"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}