Current artist, Alice Laverty defends, in the form, a figurative painting of our time, and works, fundamentally, on the new stakes of our corporality, at the time of the injunctions of permanent connections. Here, overview of the project “ The Throbbings”, a serie of portraits ( paintings and digital animation) of women artists, with the portrait of Camille Claudel, Frida Khalo, Beyonce Knowles, Simone de Beauvoir and others.
Transmission 3⁄3, 85x61 cm, oil on canvas, acrylic gold, lacquer. 3rd canvas of the series “Transmission”, theme of “mother to child”. A timeless theme that caught the artist in spite of herself. This third proposal was born from a photo of a friend of the artist and his son. The artist was touched by universal tenderness and peace. So, in this universe where images are used only to shock, Alice Laverty seeks a vibrant and forward-looking painting. Patterns of body tissue are always present, to remind us of our corporality, so questioned on the eve of transhumanism, but in his eyes, so miraculous.
Visual artist painter, practices drawing, digital image and a current figuraive painting. She defends a posture of the artist who masters his technique to detach and express himself freely. the true emerging freedom of constraint.
A contemporary symbolism. Body research underpins Alice Laverty’s painting. Some achievements linger on the landscape.
The drawing, the other specialty of Alice Laverty, allows to continue her graphic digging of the body, with lighter techniques. A more conceptual work around the relationship between the body and the new means of communication.
Photography and installations, the artist explores various media in order to enrich his research.
Requiem for an Self Portrait. Poster of 170x120 cm. Digital image made of accumulation of more than 130 drawings with the bic. The work of fragmentation of the body imposes itself in this immense self-portrait, in a wink, to the self-analysis of our time. Questioning the issues of self-portraiture in art at the time of the total and totalitarian popularization of the selfie. The bus shelter format of the poster is a reminder of the mercantile exploitation of the image of the human body.