Arnaud Adami.

Arnaud Adami belongs to a generation that, on the one hand, wishes to reclaim a figurative style of painting that has long been shunned and, on the other, has become aware of the power of images. Like many of his contemporaries, he understood the impact that unfaithful or flawed representation could have on minority bodies. In his paintings, the muses are therefore not objectified bodies upon which we simply rest our gaze; they are active subjects, endowed with know-how, whose voices must be considered. Arnaud Adami also avoids the pitfall of folklorization. If he chose to make these subjects his own, it is because he understands the reality of precarious jobs. The painter thus does not confiscate any words and expresses himself from a place that was once his. He uses situated knowledge and does not project any stereotypical characteristics onto the other. Finally, it is interesting to question the place of technicality in his practice, because it is not anecdotal. It is a binder, a tool, a driving force for exchanges. The artist thus goes against the grain of conceptual art, which often requires a slew of posters to always try, and sometimes succeed, in immersing the public in emotion. Here, the approach is retinal and the technique is mastered so that the other feels fully considered. Whether his models are doctors, work at the Rungis market, make deliveries or are technicians, Arnaud Adami sees them, paints them and thus clarifies their existence as much as their importance.