Luce Delhove

Wheels, engraving, drypoint, and even an electric drill are the instruments chosen to materialize on the slab emotional tensions, intertwining or leave out the sense of a weighted yet powerful gestures, declined rather in the direction of the complex fabric of signs.

We’ll see mostly graphic works carried out by different techniques, such as etchings, pastels and more recent acrylics on vaseline, cards imprinted but also sculptures belonging to ‘last decade of the artist, when Delhove has focused its attention to the search of the light values ​​of the surface, on the purity of the sign and the line quality.

The sculpture project, which began in the late nineties, it seems perhaps in a very close relationship with the practice intaglio printing. The passage is from the imaginary space conceived on the two-dimensional plane to the real three-dimensionality, where the signs in their intertwining and flake off, volume purchasing and re-create the texture of the material and where the light, as measured in its infinite variations, is involved in the definition plastic of the objects. A what binds a particular propensity for experimentation of technical processes, combined with a sensitivity, it is said, for the materials: unique in finding the artist is the use of textures of fabrics or upholstery that imprints on paper, and then shaping them or the direct use of textile fibers mixed with cellulose and pigments

The use of straining, consisting of synthetic fibers have led me to realize various installations. A texture that allows precisely to develop, by the rubbing of frottage, his writings of light obtained, in this case, through the use of large graphite pencils.

In 2012, it so happens that the reuse of waste mechanical, old refrigerators abandoned dump radiators have been revitalized in the form of bright and shimmering sculptures.