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PORTRAIT

Unfathomable shambles, orgiastic entanglement, cacophonous explosion, intangible stuff, the opulence of human forms and characters is akin to Bosch or Michelangelo both in the religious dimension and in the pose and attitude of this mass of flesh. and muscle. DDiArte is the absolute art of composition on photographic support, the manipulation of geometric shapes and the body, the exacerbated desire to play with spaces and volumes. With them, technique is omnipresent and meticulous, manipulation a principle, acknowledged and proclaimed.

 

History is recreated and materialized in the effigy of their will, like a singular and partially aesthetic law, a hedonistic quest for perfection, with the sole aim of annihilating indifference by provoking the most distracted consciences. Believing that art is born from the combination of feeling, will, creativity and imagination. Their in-depth work stages a human history and an altered mythology, modified in its substance : the ode to nature, the denunciation of the consumer society, love, vice and virtue. Their models are their specimens, sorts of personal and unique prototypes in order to create a morphological ideal, their ideal, influenced and inspired by pictorial art.

 

Diamantino Jesus and Zé Diogo, more commonly known by their artist name DDiArte, were both born in Madeira, an archipelago of Portugal in the Atlantic, where they now live as a couple. They were interested in art from childhood revealing an enormous talent for painting and drawing combined with science and technology. Now their talent has long since crossed borders.
Together since 1999, these two artists created the DDiArte, originally a project exclusively dedicated to painting, with the aim of carrying out both collective and individual exhibitions, as well as creating frescoes and exclusively personal works on church ceilings. In 2003 came the interest in photography and in particular in the digital manipulation of images. Self-taught in this field, they have produced pieces considered to be true works of art, some of which have won international prizes and others acquired by major art collectors and museums abroad. The human body is the material of choice for the creations of DDiArte, who are sometimes themselves creators and protagonists of the works. The games of seduction of colors and organisms whisper sarcastic, biting, satirical stories and open the door of the imagination to a mythological world, a subversion of reality.

EXCLUSIVE INTERVIEW

What do you think you bring to photography?

In the historiography of the context of art, of the use of photography, and more specifically, of photo editing, honestly, we are not bringing anything new. Where we claim to innovate a little is in terms of the themes on which our work is based. regardless of the fact that our main source of inspiration is mythology, the choice of this or that theme is the fruit of our creativity, exacerbated by a multitude of details, symbols, images, in an attempt to seduce, but above all , in an attempt to stimulate critical thinking in viewers. While some of our works can be seen as satirical in a globalized world, but still full of differences, other examples can be seen as purely scenic and be considered and contemplated at will. If some cry out against discrimination, at the same time they pay an indelible tribute to beauty

 

How do you use nude?

We use it in a very natural way, always being careful not to fall into porn! The nude is a great way to convey anything because people pay attention to it, because the beauty of bodies can seduce or shock, but or less people look at it with love or hate, never with indifference

 

What is the difference for you between male and female models?

As photographers, men are harder to shoot than women. Women have a lot more options in terms of poses, their lines are smoother and sleeker. With men we have to be very careful not to fall into the feminine pose, unless we want to. As men, we thought the human body was a work of art!

- Find the continuation of Ddiarte inNormal Magazine n°4

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