Drawings
[…] Délia’s drawings are done in one go, no second sessions allowed. There are no corrections or improvements.
Before the model there is no time for polished treatments, the model may imperceptibly shift pose.
It is almost mandatory that with each glance one or more marks are carved on the paper, and none of them are guaranteed to be the best.
Decisions are quick and have a strong dose of intuition.
It’s a drawing taken by storm.
Ricardo Leite, PhD in Art and Design from the Faculty of Fine Arts (FBAUP), Painter, Professor of Painting at FPAUP Professor of Drawing at the Faculty of Architecture of Porto (FAUP)
Acrylic on paper | 76×65 cm | 2024
Acrylic on paper | 100×70 cm | 2024
Acrylic on paper | 100×70 cm | 2024
Acrylic on paper | 40×20 cm | 2023
Acrylic on paper | 40×20 cm | 2023
Acrylic on canvas | 40×20 cm | 2023
Acrylic on canvas | 50×30 cm | 2023
Acrylic on canvas | 30×20 cm | 2023
Acrylic on paper | 80×63 cm | 2020
Acrylic on paper | 80×48 cm | 2020
Acrylic on paper | 130×72 cm | 2023
Acrylic on paper | 60×50 cm | 2020
Acrylic on paper | 80×60 cm | 2020
Acrylic on paper | 113×100 cm | 2020
Sold
Acrylic on paper | 70×50 cm | 2017
Acrylic on paper | 70×63 cm | 2010
Acrylic on paper | 85×39 cm | 2015
Acrylic on paper | 64×46 cm | 2017
Acrylic on paper | 50×50 cm | 2015
Acrylic on paper | 50×50 cm | 2015
Acrylic on paper | 70×50 cm | 2015
Sold
Acrylic on paper | 70×50 cm | 2015
Sold
Charcoal on paper | 130×70 cm | 2009
Sold
Charcoal on paper | 175×90 cm | 2009
Private Collection
Acrylic on paper | 40x30cm | 2016
Sold
Acrylic on paper | 40x30cm | 2016
Sold
Acrylic on paper | 40x30cm | 2016
Sold
Charcoal and acrylic on paper | 88×76 cm | 2010
Sold
Sofia | 80×60 cm | 2011
Richard with blue shirt | Acrylic on paper | 110×80 cm | 2010
Sold
Acrylic on paper | 80×50 cm | 2010
Acrylic on paper | 138×100 cm | 2015
Sold
Sofia sitting on a chair | Acrylic on paper | 120×90 cm | 2011
Sold
Acrylic on paper | 100×77 cm | 2015
Sold
Acrylic on paper | 97×60 cm | 2010
Sold
” Moving away from perceptive theories,
the quality of Délia’s pictoric surface reveals a great stroke gesture, visceral,
one could say, much more significant and energetic when it sticks to drawings only, and the polar contrast between black and white.”