The body ego, as Freud said, that is, the most primitive and physical and organic ego.
It becomes clear that the violent explosions that have recently taken place were decisively influenced the re-definition of body images, of body perceptions.
Fifty years ago, the Francis Bacon thought, aimed to restore the body “to a kind of dignified, animal resignation”. For him, art was about ribs and forearms and eye sockets. It was about flesh over bone. Bacon never forgets that flesh is meat. ( Myfanwy Piper )
In my case, the bone become excessory, the flesh becomes inflesh, an inorganic redefinition. The purveyor of inflesh of all kinds, as an inflection, of livid and brilliant hues: emerald and phthalo greens, eerie cobalt blue or saturate red and shocking yellows, sepulchral titanium whites and ritually primitive lines. The excessories of my sculptures, steel and fiberglass erection, conjure unlikely anatomies and intelligent devices, as prosthesis of actual humankind.
My artistic approach acclaims the spectacular extremes of bodily manipulation by new technologies, the deconstruction of corporality and evaporation of the body into virtual, moving towards to a new aesthetics, butchering of the ideal body as a gift from nature. These departures first liberated the body from societal codification, aesthetics delimitation and the “prison of Godlike embodiment”. (F.Liber, Montreal, 2019)
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Notable artists who have benefited from AENY: Andy Warhol, Peter Max, Robert Rauschenberg (Washington Post)