{"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":"2026-10-17T17:10:26","modified_gmt":"2026-10-17T15:10:26","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

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

 <\/p>\n

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

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.<\/span>
This protocol forces the rules of the construction site and the museum to cohabit within an immutable format (29\u00d729 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.<\/span><\/p>\n

 <\/p>\n

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

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

 <\/p>\n

The Samplings <\/b><\/a>(S\u00e9rie Sp\u00e9cimens<\/a> & Carnet)<\/a><\/span><\/h2>\n

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<\/a><\/strong>. 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<\/a><\/strong> \": mutant object-paintings, pinned like visual enigmas destined for observation.<\/span><\/p>\n

 <\/p>\n

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

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.<\/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 (Bygone Era): This sterile, ungrounded environment ('White Cube') generated the vacuum-packed aesthetic of the Cartes<\/strong><\/a> and Respirations series<\/strong><\/a>.<\/span><\/p>\n

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

The Carnet<\/strong><\/a> compiles this global breeding ground.<\/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":{"_seopress_titles_title":"D\u00e9marche \u2014 David AL","_seopress_titles_desc":"L\u2019h\u00e9ritage de la mati\u00e8re : un art en chantier. D\u00e9couvrez les protocoles picturaux des s\u00e9ries de peintures et le carnet de pr\u00e9l\u00e8vements du peintre contemporain David AL.","_seopress_robots_index":"","_seopress_robots_follow":"","_seopress_robots_imageindex":"","_seopress_robots_snippet":"","_seopress_robots_primary_cat":"","_seopress_robots_breadcrumbs":"","_seopress_robots_freeze_modified_date":"","_seopress_robots_custom_modified_date":"","_seopress_robots_canonical":"","_seopress_social_fb_title":"D\u00e9marche \u2014 David AL","_seopress_social_fb_desc":"L\u2019h\u00e9ritage de la mati\u00e8re : un art en chantier. D\u00e9couvrez les protocoles picturaux des s\u00e9ries de peintures et le carnet de pr\u00e9l\u00e8vements du peintre contemporain David AL.","_seopress_social_fb_img":"https:\/\/david-al.com\/wp-content\/uploads\/2026\/10\/cavalier-atelier.jpg","_seopress_social_fb_img_attachment_id":14648,"_seopress_social_fb_img_width":2560,"_seopress_social_fb_img_height":1710,"_seopress_social_twitter_title":"D\u00e9marche \u2014 David AL","_seopress_social_twitter_desc":"L\u2019h\u00e9ritage de la mati\u00e8re : un art en chantier. D\u00e9couvrez les protocoles picturaux des s\u00e9ries de peintures et le carnet de pr\u00e9l\u00e8vements du peintre contemporain David AL.","_seopress_social_twitter_img":"https:\/\/david-al.com\/wp-content\/uploads\/2026\/10\/diptyque-acolyte-scaled.jpg","_seopress_social_twitter_img_attachment_id":14623,"_seopress_social_twitter_img_width":2560,"_seopress_social_twitter_img_height":2560,"_seopress_redirections_value":"","_seopress_redirections_enabled":"","_seopress_redirections_enabled_regex":"","_seopress_redirections_logged_status":"","_seopress_redirections_param":"","_seopress_redirections_type":0,"_seopress_analysis_target_kw":"Art,Chantier,Protocoles picturaux,D\u00e9marche,Dispositifs,L\u2019h\u00e9ritage de la mati\u00e8re,un art en chantier","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}]}}