correia_2

Born in 1972
First exhibition in 1994


Numerous exhibitions in French, Belgian and German art galleries.

Exhibited in Museums in Poland, Croatia, Venezuela, Taiwan, Japan.

Private collections.

 
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Claiming that painting is the means of expression of  human testimony makes Antoine Correia an heir and an upholder of the great pictorial tradition. Here is an artist who dares to jostle together the criteria of beauty and harmony, setting them in opposition to offensiveness and to a deviance of form well-adapted to the reality of a society in crisis. Correia’s brush rips off tatters of skin, transformed in pictorial reflections.

Lydia Harambourg


Whichever subject is tackled in the work of Antoine Correia - human bodies, animals, or even landscapes - one cannot help being impressed by the dramatic interweaving of the carnal and the spiritual. Correia is one of the young artists we are thrilled to present, and whose path we follow with great attention.
AZART Magazine, #25 March/April 2007



This young artist confirms the early felt qualities of a painting that is certainly, hard upon the spectator but true. The renewed ambition of Antoine Correia who now presents his recent production is t o create a work of introspection, about the suffering of a flesh waiting to be redeemed. His work on the body reasserts his will to maintain the highest standards as a painter and heir of a great tradition. He tries to come as near as possible to reality by questioning matter in order to transcend the horror. The latter is magnified by a plastic density and by the sensuality of  oil paint that is kneaded as well as mixed with colored nuggets and with luminous fractures that break the epiphanies of ecstasy. Only oils, with their slowly painted and matured glazes, allow such an intimate approach. Crucifixions, deformed babies and children’s heads answer to tortured bodies, all confronted by the burnt-off landscapes of a bloodless earth. It is a twilight world where darkness fights against light. The suppurating flesh, raped with hemp and mineral matter, shows the stigmata of pain, fear and torture, inducing an ambiguity where repulsion fights against pictorial amazement. The wild vision of Correia summons paradoxically the fascinating beauty of a pictorial surface transfigured by pink and light ochre iridescences enhanced with grey, black and white. Moiré stains, submerged by a reflective light, create wounds that, dressed in blood and lava, assail the worn-down bodies of the lepers. The metamorphosis of these bodies is the metamorphosis of the soul.

Marie Vitoux