Aldehy's reincarnation: Art had been dead

But what flesh is Aldéhy talking about?

That of the pleasures of the same name, if we refer to the callipygous 5th female figure in the painting with which the eye closes its scan of the frame on the buttocks. Eroticism thus emerges in fine on the right, on the side of the carnivalesque animal masks. As if the return of the spirit to the body awakens the soul of the beast. The opening words on the left side are much more nuanced. In three Graces, we pass from Vinci to Ingres via Picasso. Aldéhy's models in Reincarnation are women who do not live in our world, but in paintings. Could it be the struggle between a pictorial eroticism and a post-cubist eroticism intertwined that the artist wants to represent to us here. The creamy flesh of the Renaissance taking on the sexuality that the artificial pink of Modern Art renders less well. Too glam. Another quarrel between the Ancients and the Moderns? Aldéhy has decided. Between Art and Artefact, it was the former that he obviously chose to reincarnate. So both were dead, according to him. Quite an insolence.

Aldehy's flagship work: Reincarnation.