Discover the contemporary work of DALUZ

 TRAINING

I am self-taught and I built my universe, my know-how on my feelings, my skills, my curiosity..., formed by my pursuing gaze, in the creation of what my meaning felt in art. However, some private lessons and advice from painters guided me in the technique.

I think that achieving fulfillment through creation comes from the happiness of realizing what haunts our hands, our thoughts, our souls.

Thus, concerning this disorder which invades, the author who sees his feelings ending on his canvas, finds a satisfaction which he experiences fully, then the spectator who joins, in the ;A work accomplished, the emotion of a moment... that of the author during creation.

Thus since childhood, I have created, according to my rules and my approach, while respecting the line of my desires, aesthetics and pleasure, the joy of realizing my personality. through my creations.

The importance of feelings in art is THE essential part that makes the work.

During exhibitions, in contact with visitors, the looks on my works touch me to the depths of my being because in such a moment I feel a link with "the 39;other" which brings me closer to the mystery of art, creation and diversity, plurality of life. of art.

Art is a feeling... and I try to produce both.

 TRAINING

I am self-taught and have built my world, my knowledge on my feelings, my sight, my skills, my curiosity ... an adventure. However, I was guided in the development of my techniques by some private lessons and the advice of a few painters.

I think that to be accomplished through a creation falls under the happiness of giving shape to what haunts our hands, our minds, and our souls. Thus, regarding this invasive turmoil, the author who sees his feelings be completed on the canvas finds a satisfaction that he lives fully. He feels it, when the viewer joins in the work done, the emotion of a moment ... the one felt by the author at the moment of creation.

I am a little non-conformist in my painting, formed outside the conventional paths, by my sight ever pursuing what my senses make me feel in art.

 So since childhood, I have created, by my rules and my approach, while respecting the line of my desires, aesthetics and pleasure, the joy of achieving my personality through my creations.

The importance of feelings in art is THE essential part that makes the piece.

At exhibitions, in contact with visitors, their eyes laid resting on my artwork touch me deeply, to the core of my being, because in this moment I feel a connection with the other that brings me closer to the mystery of what art is, closer to creation and diversity, and the plurality of art.

Art is a feeling both ... and I try to produce.

  TECHNIQUE & INFLUENCE

My style is framed, it is mainly abstraction...a style that attracts me for its freedom. because it disguises the factual, the visible, the accuracy and releases another surrealist emotion.

I turned to abstract and acrylic after many years of painting. oil and figurative art come together on my canvases or any other support. A certain weariness had set in and reproducing what my eyes saw was no longer enough for me. The attraction was no longer there. and I rarely painted.

In 2011, on the impulse of Anaïs (my niece), acrylic and abstract entered my head for my greatest pleasure. Finally my paint penetrated into the wall. the fusion of my thoughts, my new ideas, my moods, through another technique. In the same spirit, collage and the application of materials, composite materials, textiles and others lead my imagination towards other paths.

In abstract painting, abstraction is a free vision which reflects the thought which it gives off and which the creator has instilled. Thus, the abstract work born from abstraction is neither a replica of reality, nor a certainty, nor an error, it is!... simply a view of the mind.

The artist exhibits there his way, the expression in his own way through an art, its intimate evidence, its exercise of life.

Abstraction has no abstraction.

Miro, Klee, Kandinsky, Malevich, Ernst, Mondrian, Picabia and many others, at the beginning of the 20th century, understood and created the very essence of contemporary art, the "expression of non-objectivity" : abstraction crossed with surrealism.

   TECHNICAL & INFLUENCE

My style is framed, it is mainly abstraction ... a style that attracts me for its freedom because it twists the factual, the visible, the accurate and releases another surreal feeling.

I turned to abstract acrylic after many years of oil and figurative united on my canvas or other media. A certain weariness had set in and to replicate what my eyes saw was not enough anymore. The attraction was there no more and I would rarely paint.

In 2011, on an impulse and for Anaïs (my niece), acrylic and abstraction came to my mind, to my delight. My painting finally merged all my thoughts, ideas, and moods through the use of another technique. In the same spirit, collage and the use of materials, composite materials, textile, and others, lead my imagination to other horizons.

In abstract painting, abstraction is a free vision that reflects the thought that emerges and that the creator has breathed into it. Thus, the abstract work born of abstraction is neither a replica of reality, nor a certainty. It is not a mistake either, it simply is! ...As simply what a soul sees.

The artist exhibits in his own way the expression of life through art, his intimate evidence, and his own pursuit of life.

Abstraction has no concept.

Klee, Kandinsky, Miro, Malevich, Ernst, Picabia and many others in the early twentieth century understood and created the essence of contemporary art, "the expression of the non-objectivity” : the abstraction crossed to surrealism.