Adeline Calosci is a French visual artist born in St. Cloud in 1980. From a family in the theatre, she began studying drama at the age of 15 and proceeded the following decade at the Florent, the Aquaviva School and the Paris Conservatoire Superior d'Art Dramatique. During her career as an actress she worked with great directors such as Catherine Hiégel and George Lavaudant, before returning brie y to the Comédie-Française.
Read MoreBetween 2005 and 2008 Adeline Calosci developed several projects in the media, including a short format series produced by Ari Tordjman which was broadcasted on TF6 for 3 years.
Passionate about graffti and drawing since she was a teenager, in 2008 Adeline Calosci followed several courses in graphic art and then created works inspired by old-school tattoos, elements that will later mark a large part of her work. Her rst creations consisted tattooing style images of celebrities from the 50s, such as Marilyn Monroe and Jackie Kennedy, works from which she made a name for herself in Paris.
Later Adeline became renown for a series of sculptures that attack the symbols of luxury brands and welcomed with great success by international collectors. (Empire 22 series, exhibited in 2014).
From 2010, Adeline Calosci devoted herself to painting using different techniques such as aerography, spray bombing. Her work questions the links between consumption and desire, through a combination of references to Western pop culture and the modern iconography of anime, manga and the kawaii universe.
Various symbols of iconic, commercial and global consumption serve as a means of expression for Adeline Calosci to evoke the futility, the omnipresence and the illusory effect of desire, as it is constructed in contemporary supra-publicized society.
Her characters—childish icons, superheroes, naive girls, whose features recall the bishoujou (Japanese word for 'beautiful girl') are often represented under the sign of fatality or ambivalence: between recklessness and the tragic, amidst excess drive and deprivation, separating naive desire and hyper- sexualisation. Adeline Calosci even comes to de ne her work as being focused on the paradoxes of desire: 'To satisfy a desire is a dangerous issue: even if it can lead us to self-ful lment, it can destroy us, become tragic. Desire is always confronted with the norm, conventions and the forbidden. Desire invites us either to transgress an order or, on the contrary, to follow it. It is from these tensions that we are forced to build ourselves as individuals'.
These technical aspects of her creations can be associated with the Super at movement: at images, solid and attened backgrounds on a surface de ned by sharp lines and a lack of depth. Indeed, like other artists who recall the codes of an aestheticized and infantilized society (Japanese neo pop), Adeline Calosci's work evokes the fabric of inaccessible ideals and the playful desire that drives today's individuals towards a quest.
