Hands and Gloves

Bringing photograph-like memories back into drawing and painting, “cubistic photorealism“, artistic self-assertion against “unlived“ lives, endangered sensuality and manipulation

Dalva Duarte is bringing back the technical medium of photography into her “hand“ drawing or painting, as the most “organic“ way to create, the closest to “nature“. So in the big hand with scars and signs of a hard lived life she mixed earth and egg, as she did as a little girl starting to paint and not having any other colours. This early impulse becomes the self-assertion of an artist feeling at ease with colours, never doubting them. The tension or friction with this is developed by the construction, frames, boxes, lines; encodings of experiences of violence, usually hidden.
The orientation to the “masters“ can at once gain a deep sensuality as in the hand or the pears – often connoted with happiness – but they can also become a jail, a manipulating force as in The Cardinals or the bonds in The Argentine Ego. The man (light is being “discussed” indirectly on his body) is holding the white line which clearly belongs to the construction principles of the painting, like a sinew.

Detail: Olimpia’s Sweet Dreams

Detail: The Argentine Ego

He is held by this particular tension of different realms he is in, whereas Mom has no chance to get out of her box. Picasso once showed Dalva Duarte the way to articulate an ambivalence of seeing, not seeing and the need to see, to be able to grasp the complex frictions of the world in a sort of cubism. So it is interesting to see the art critics with their white gloves next to the row of black men with three eyes to understand how much strength and optimism it takes for a woman, a coloured one on top, to get out of these restrictions.