Esquisse Sur Stuc 70

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Paintings40.0 x 40.0 cm?
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Flore Betty

After having devoted herself exclusively to the representation of women, Flore Betty enriches her palette by painting "the human" in the broad sense, in particular with his series "Dualis". Painter of portrait and naked, his work deals with timelessness and equality between men.
Painting as evidence
Flore Betty is a painter formed at the School of Fine Arts in Orleans. Initiated with interior decoration in a Parisian school, she also enriched her technical knowledge in Tours in a training center for painters in sets. Formerly in self-enterprise, she left the sites to devote herself exclusively to painting.
Represented by a Parisian gallery in 2014 where she exhibited in Seoul and Beijing, she was a winner of the young Talents du Loir-et-Cher competition organized by the General Council. Since then, she has been rewarded with numerous prizes, and has crossed France, more particularly the Great West to participate in exhibitions.
Represent the soul of a subject
Flore Betty is inspired by the idea of ​​the Palimpsest using newspapers and scores of the 1900-1940s that she sticks on a virgin support. She assembles these fragments in a thoughtful way having in mind the final rendering. She ensures that inscriptions appear in transparency on the skin of his subjects, which allows her symbolically to represent everything that constitutes the soul of the subject, her knowledge, her wealth, which was transmitted to her.
Flore Betty does not want his paintings to be simple representations but a real vector of emotions. In parallel, the old newspapers allow him to make the junction between eras like a palimpsest which keeps the imprint of its previous use. The artist also incorporates his paintings into her paintings made from marble powder that she comes to shit with an Agathe stone, which gives a smooth and shiny final appearance.
Thus, as engraved in marble, Flore Betty freezes its models over time. Because each person has a story, because each story is universal.

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