The Body Imprints and the negatives
The body imprints, faceless, with vague outlines of limbs and expanses of skin, a mere suggestion of body shape serves to signify the human figure in these paintings.
While rather clearly female, no overt markers are present to determine the gender of the imprints. Moreover, the aim of the paintings is not to showcase the individual or any recognizable model in particular; the focus is on the process.
Pierre Levicky has been using the body imprint technique in his art for almost 30 years, working with models posing for the paintings. The term 'posing' is in fact somewhat misleading, since the real process is anything but static. It begins with the background, the synthesis of an intense collaboration with the model to be painted in order to decide of colors and contrasts. It follows with the model achieving the best possible “pause” on the canvas, this being precisely recorded and then the quick process of the body being painted – being pressed on a canvas to capture the imprint of the body in the precise set of steps that have been previously determined and mapped.
The result of the red painting may well represent (name), but the real intention, above and beyond the identity of the imprint, is the tactile nature of the painting, the exact texture and surface of the skin (documented in the photographs taken by the artist), each line and crease etched on the fresh acrylic paint. A further significant aspect is how the bones show through in many of the imprints, with elbow and knee joints leaving marks on the canvas – no doubt the result of firmer pressure on the paint than the fleshier parts of the body. Based on the artist's interpretation of each individual imprint, what then comes together is a danse macabre of disjointed limbs, a languid skeleton at rest or more often the ethereal structure of the perfect body laid out bare on the canvas - A perfect image that will not age nor change.
The body imprint process must be carried out at speed, since the acrylic dries in only a few minutes, freezing the shapes of the body on the paint. All of which underscores the importance of the crucial preparation phase, as there are no second chances – hence the significance of a clear vision from the outset. There is no space for indecision or hesitation in the work. Currently, Levicky's "body imprints" are adorning many walls throughout Europe, much to the delight of his models and to the excitable curiosity of friends and family.
In addition to his body imprint work, Levicky also uses the "photography negative" technique on large or very large supports. In these monochrome paintings, the interplay between light and shadow seems to highlight dark, unidentifiable figures emerging from the background – adding a strangely harmonious and peaceful atmosphere to space and surroundings. Colors are sharp, gleaming and surprising, forever moving.
Either through Body imprint or through the negatives techniques, Levicky offers his clients the rare opportunity to share the creative process with him. There is something “sensual” to be substituted to the brush and to be displayed almost naked in one’s dining room or office without having to cover up. The large canvases are made to measure to meet clients requirements in terms of colors and size. Conceived to ornate and compliment stylish homes, reception lobbies, hotel bedrooms… Levicky’s Body imprints or Big art are a valuable accent to tastefully created atmospheres.