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Violence and passion of Ned Nedellec’s belles from 9eme Concept

Through his works Ned satiates fantasies, fantasies, caprices, escapades, eccentricities, stories, which he gives us in a spectacular way. In a romantic or trivial way, he likes all his models that he celebrates like Muses, Madonna or Madeleine, Mary or Maryline, mistress or slave …

In front of these drawings, paintings, engravings with high degrees of excitement art lovers are dazzled with the rebounded shapes that touch the limits of modesty and exhibit in black and white make-up, rimelle, and lipstick. Ned in his surprising portraits at the edge of the scandal reminds the Kubrick of “Eyes Wide Shut” and in turn offers a psychological and artistic journey in search of our identity, our most secret desires, our most sulphurous fantasies.

The precise design as a tattoo accentuates the subtlety of the exhibitionist scenes. The charms of these beautiful girls also constitute a universe with multiple levels of reading: plastic and quasi-academic beauty of poses, fetishism of feminine accessories, perfection of dress design, balance of lights, formal quality of decorative compositions. Indeed, what Ned paints are not only portraits of girls, they are relationships between lines, materials and distances and in this his inspiration is also architectural with a perfectionism that gives his paintings a visual richness and narrative. There is something in him about the profaner who takes a malicious pleasure in transgressing the propriety of places, people and values ​​by putting them at the service of his fantasy. Some of Ned’s works (perhaps the most violent ones) aim at bringing to light this spirit of perversity, that love of evil for evil which is sensitive in the nature of each of us to varying degrees, and that Edgar Poe thus defined in “The Black Cat”: “Who has not committed a mad or vile action a hundred times for the sole reason that he knew he had to abstain from it? Do we not have a perpetual inclination, in spite of our judgment, to violate what is the law, only because we know that it is the law? ”

Ned then puts his mandorles, his ornaments, his contemporary ornaments. The protagonists escape their destiny as prisoners, slaves, to take a dimension of noble warriors or illuminated visionaries. The interlacing of flames, arabesques, and vegetable friezes gives them a halo, a diadem, a halo, a whole original heraldry made up of unusual coats of arms and coats of arms. Through his pen the artist imposes a fusion of motifs, banners, banners, standards, oriflammes, seals that are no longer the prerogative of a single social class but bring nobility and aristocracy to beautiful unknowns. This gallery of portraits is similar to the works of a state hall of a large castle or a book of illuminated parchments. With him, the painting of loves constitutes a modern Season in Hell, where fatal women with the pulpy forms of Betty Page, vestals, heroines agonizing to madness, nymphs spotted with early morning coffee draws. All of them suffer without complaint the “eye-rape” of the artist, under the eye amazed by the terror of satisfied spectators.

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Today, Ned aspires to a more abstract work, combining heraldry and energy geometry.

Ned’s guideline, the essence of his trait, is a tribal line. Linked to its Breton origins and Celtic art. Over time and as it went on, this line was transformed to channel all kinds of primitive forms and thus join the fundamentals of the universal line.

The compositions of the artist are unconsciously integrated into a network of regulating plots. He knows these geometrical plans, these codes of divine proportion, the esoteric symbolism which are the object of a permanent quest in his work. Bringing re-echoing earthly forces of the telluric forces through modern pentacles, the artist transforms his dark side into coats of light. He frees himself from an ancient, gnarled and complex evil, to fly to a saving freedom.

By placing medallions on three-dimensional polygons, volume drawings come to life, unfold in space and offer another perspective of vision. There is a positive flow generated by the roots of intricate labyrinths or complex labyrinths that draw the powers of the ground, concentrate it in the medallion and then project it by the points of the triangle. A new catalyst of creative flows, to diffuse the good energy like a social prism connected to the terrestrial crystal and magnetic grid.