70 x 50 cm
Laís Amaral abstract paintings dialogue with the feminine power. Just like the flow of a river, Laís produces her paintings as a flux that emerges from within, an inner force that relates to all the women in her life, family, and ones who know the medicinal powers of nature; who are part of this feminine force latent in the earth. In order to discover elements about herself, Laís Amaral understands painting as a gesture of leakage. The artist uses painting as a vehicle through which to explore possibilities from spiritual to ancestral aspects. In Samba em Paris , the artist understands mistakes as an exercise of letting go; through this, she created her scraping technique. Whenever she attempts something she doesn’t like, she overpaints the canvas in a different colour from what was there. By allowing herself to make mistakes, by allowing herself to experiment, Laís builds her vocabulary, escaping from rigid linearity and seeking to discover pleasure in disobeying and contradicting the traditional expectations of abstraction.
Laís Amaral is a self-taught artist who understands herself as an artist, while also part of the collective atelie Trovoa, co-founded by the artist and four other women. Dedicated to the production of black women and those who live on the margins of urban spaces, the collective emerged as a network to strengthen, motivate, and open new perspectives on contemporary art, both in terms of consumption, and in terms of being active in the production of content. Laís dedicates most of her time to painting, her practice explores possibilities towards the contemporary environmental collapse in what she calls desertification and “whitening” in territories across Brazil . Reflecting on the presence of her body in these spaces, Laís compares this desertification landscape as a subjective desert within herself.
Produced for the Prix Marcel Duchamp and presented at the Centre Pompidou in October 2017, the installation Unconformities is comprised of photographs, archaeological drawings, and narratives, based on the analysis of core samples from different sites in Beirut, Paris and Athens...
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
Poised with tool in hand, Jeffry Mitchell’s The Carpenter (2012) reaches forward, toward his workbench...
ALICEGAVINSERVICES™ — La MABA — Exposition — Slash Paris Connexion Newsletter Twitter Facebook ALICEGAVINSERVICES™ — La MABA — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour ALICEGAVINSERVICES™ Exposition Design, graphisme, techniques mixtes Derniers Jours Alice Gavin, ALICEGAVINSERVICES™, sans titre Crédit photo : Léonard Méchineau ALICEGAVINSERVICES™ Encore 6 jours : 14 septembre → 17 décembre 2023 Cet automne, dans le cadre de sa saison dédiée au design graphique, la MABA présente, du 14 septembre au 17 décembre, une exposition consacrée à ALICEGAVINSERVICES™...
Young men are often found together in uniform, already influenced by ideology and bodily and style stereotypes...
Yosuke Takeda gives the viewer brightly colored views, each of which he has searched out and patiently waited for...
The Royal House of Allure is a name of a safe house on mainland Lagos where members of the queer community in need of boarding, due to various circumstances, live together...
2023: The year of the girl | Dazed â¬…ï¸ Left Arrow *ï¸âƒ£ Asterisk â Star Option Sliders âœ‰ï¸ Mail Exit Life & Culture Dazed Review 2023 From Barbie to the Eras Tour to girl dinner, girliness and girly aesthetics have dominated pop culture this year – but why? 12 December 2023 Text Jess Bacon Girldom has dominated pop culture this year...
Andy Meerow, medium cool – Two Coats of Paint Andy Meerow, installation view of Slanted Andy” at Derosia Contributed by Jonathan Stevenson / In Haskell Wexler’s iconic 1969 counterculture film Medium Cool , John Cassellis, a cold-eyed TV photojournalist played by the great Robert Forster, has internalized the notion of television as a “cool” medium in the McLuhan-esque sense of requiring viewers to search for context in order to understand what they are seeing...