Josette Spiaggia

• 2006
• Acrylic watercolor on wood

Canson Pastel on cardboard, 1991, Format 27 x 37 cm (Box 40 x 50 cm)

When all of these children in underdeveloped countries, universal view, in which mix a huge quest that remains unanswered, but also the hope fatalism, look who has not had to land on the hardware ..., against the wild beasts of the desert.

Acrylic on Canvas, 1989, size 30F

The Horsemen of the Atlas, from the collection of sketches and watercolors Faces and Scenes in Algeria 1957-1962 by Josette Spiaggia

Acrylic on canvas, 168 × 105 cm, 1992

From his days, his nights spent in the Hoggar, the artist keeps the great impression it was more about the planet Earth. These men, whether poor for us physically, have won immateriality they lack nothing, nobility, sovereignty, perfect harmony with their world relentlessly.

On the other senses, besides ours, another philosophy, another way to communicate, a writing that is unlike any other. They are beautiful, a nonchalant elegance, and their actions resemble those of women. They move, something extraordinary, without sweat or breathe, sinking into the sand as any Westerner, but light, their bare feet touch the ground imperceptibly.

They are not entangled with angels wings, which operate on a blue ... and what Azur!

Acrylic on canvas, 50 × 61 cm (12F), 2000

The artist has traveled the Hoggar and Tassili, lived very close and like the men in blue, documents show photo.

Often alone like this picture, the Touareg on his young white camel is able to move from one camp to another without any apparent reference to Westerners. He has an innate sense of direction that took him bluntly.

He fears, however, the sand storm as it tries to overtake here in forcing the pace, if it shrivels up on his camel, forming a mound alive and waiting for the desert wind is calm. This may take several hours or even two or three Jous: he does not drink or eat during this period of turbulence.

Acrylic on canvas, 80 × 60 cm (25P), 1995

The blue shadows of night enveloped the arid cliffs, but the holy city still plays with light in the carving of its terraces, steps, domes, minarets, arches and balustrades, its maze of alleys and finally, its walls to kinks repeated.

This worked and compact jewel shines M'zab the last rays of light, embedded in an empty terrain of the vast plateau of the Sahara, uniformly colored gazelle.