Texts

An invitation to peace The quest for the uncomplicated, cleansing through emptiness, but this no-clutter exercise is neither too frigid nor too minimal. Within the confines of abstraction, man resurfaces, with emotion and life. The lines of Del Aor vibrate, the geometric figures shimmer, everything is pervaded by sensuality. Harmony is the result of tension between empty and full. With Del Aor, emptiness creates a strand of meditation: her latest, very sober paintings use a palette restricted to primary colours, whose restful symmetry is an invitation to inner peace. The eye wanders in pace with the subtle correspondence between volumes and planes, succumbs to the charm of balance of force between the materiality of her works and the capture of the immateriality of space.

V. R. Midi Libre

Basking in light She operates through an uncluttering process, stripping it all down as if searching for the ultimate line. Basking in light, her colours (or rather her colour, as her paintings are sheer light) and her signs are as indescribable as happiness, that she strives to render perceptible. The composition is simple and harmonious, even harmonizing, as visiting her paintings effectively leads to this sort of contagion. A vital journey in reverse: you run towards childhood with an innocence uncomplicated by a pure heart and years of work. Her painting smiles at the heart.

Jaume Galmés, poète catalan

Where did the water-lily fit in? Flat tints set themselves apart from such soul-searching. This concern is abruptly filed down. There remains just a rectilinear layer, completely washed out and needlessly without relief. The flat tint is a unique colour, a background that needs caring for, something brilliant. Then the surprise arrival of shadow, the first, which finally delivers verticality. The upright luminous split is rounded on the surface and is presented differently, hammered and sculpted perhaps. The dormant water-lily delivers itself, it swims, spreads and should disappear. But it keeps ringing out, it radiates and is not offended by anyone or anything. There is no disappearance, just the immobile act of painting.

Catherine TOPALL, directrice centre d’art

Daring freedom A name of light and gold for a woman artist and her original work in every sense of the word. Primal art of virginal sensuality, blending a play on matter, the density of colours and the purity of shapes. A path that comes from afar and still has a long way to go. The choice is clear: that of daring freedom. An amazing and radiant little woman who delivers her bright light with power and finesse, where lines rush forward and contrast on changing matter, run the risk and give rhythm to space until it vibrates with the most daring colours in a subtle harmony. Her painting is coloured vibration, full of joy, audacity and… mystery. Sober and sensual, uncluttered and generous, it plunges you into a dense, personal history where nothing is linear, but everything is fun. Take the time to place yourself inside her paintings and her colours, the way you breathe in a zest of folly, wisdom, audacity, work, adventure, solitude, otherness, silence, secrecy and openness. All is tactile, olfactive and coloured. You will not emerge indifferent from this kind of encounter: the work has body, enough to send a vibration through your own. You might even discover just how much beauty, grandeur, play and radiance there is inside you. Quite simply. Youth is timeless. Not to be missed. The first of its kind

Amarine GUERLIN, écrivain

The pictorial balance of Del Aor Even if we had not known, we might just have been able to guess that Del Aor, a French painter of Catalan origins, maintains a close relationship with mathematics. In her beautiful personal exhibition at the Pinxit gallery, the artist reveals her link with the world of math through a highly precise formal quest dominated by structured rationality, which however is not exclusively locked onto the need for defined and inalienable parameters. Her world is indeed composed of clear colours and precise shapes, and it is one in constant search of meaning. A meaning that she is visibly looking for along the path of norms and scanned portrayal, without tawdry clutter or formal dispersion. Balance is the value that dominates the portrayal of the world according to Del Aor. Her works are marked by a geometrical rigour which translates to the juxtaposition of sharp, strong colours and a series of closed lines whose shape is apparently simple, but actually very complex. The same goes for the dense succession of question marks which build up in clearly identified, circumscribed spaces as a metaphor of the question. The actual empty spaces become important spaces, like the cells of a fully evolving organism destined to move towards shapes unknown even to the artist. Space and colour combine to form a poetic structure, an icon, like an essential signal to which is linked a cognitive wealth of a much broader dimension, that of an artist who has attained her current level of research through the emptying of spaces. Her works assume their meaning through a suggestive viewpoint that is not defined by the principles to which we are presently accustomed. The result is complex with versatile effects and, confronted with the works of Del Aor, the observer will be torn between surprise and the lack of any specific point of reference, or at least of a pre-established path. The artist calls her works “non-suits”, evoking a contemporary notion of modern anthropology to refer to the spaces of everyone and no-one, territories whose singular dimension closes onto itself without managing to recognize opportunities through which to latch onto others. And while Khalil Gibran was right in saying that “I am a navigator and a traveller, and each day I discover a new region of my soul”, a journey into the “non-suits” proposed by the Pinxit gallery essentially turns into an opportunity for knowledge and quest. The journey proposed through all the works assembled here is a journey through the regions of the soul, a way to rediscover empathy between being and appearing, between what is felt and what is portrayed. The “non-suits” would then become spaces in which we notice different ways to achieve a critical examination of our feeling, between the meanders of a need for limpidity and something else that everyone will know how to find by their own devices. Quite simply.

Massimo CENTINI Corriere dell’Arte – June 12, 2004

Pure shapes in power… Her name could have been taken straight out of a Duras novel. Yet Del Aor’s real roots lie further south. Catalonia, with just a sufficient dreamy smattering of the East. With tense rigour and sparing use of signs, shapes become established through their infinite accuracy. The coy little flower of hope or life in the minimalist garden inhabited by ideograms: this is Del Aor. “We advance through the irrational…” And here is Del Aor gently and firmly guiding us over these fragile paths. Gold-Blue-Black and then Gold-Blue-White, or again Black-White-Gold and Blue-Black-White. The surprise of colours. This is where Del Aor searches for the smile of plenitude hovering just above the obvious. Mystical? Maybe, the way Francis of Assizes was in absolute uncomplication. Yet here we see an outstretched hand much more than any renunciation. If for you exactingness in art has a value of asceticism and free exercise of intelligence, then you surely need to go and see Del Aor.

J.P. CHARLUT

Gallery Champ Solaire

Gallery Fil d'Or

Gallery Dômes

Gallery Atopique

Gallery Simple Chaud

Gallery Porte mu

Gallery Entre 0 et 1

Gallery Dimension 3

Livres d'artiste

In situ

Gallery Champ Solaire

Gallery Fil d'Or

Gallery Dômes

Gallery Atopique

Gallery Simple Chaud

Gallery Porte mu

Gallery Entre 0 et 1

Gallery Dimension 3

Livres d'artiste

In situ





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