Bodies, faces. Torsos, grins, individual portraits, group portraits... So many hypersexual incarnations. A whole gallery of humans posing without posing and staring at us without smiling, aware of their strength, their intrinsic dignity. Figures too hieratic for some tastes? Adrait became known 10 years ago with a series of paintings devoted to boxers. It was his way of not searching but finding. Finding what? What splashes, what spurts further than the gesture of painting. (Re)discovering the fundamentals, daring to paint with sobriety and spectacularity. The boxers are not captured in full movement; they seem ready, but for what? A posing session, a weigh-in, a fight? A test of truth, in any case...

After a long trip to Cuba with a photographer friend, the two men pursued the path they had chosen: black magic. Three months, plenty of time to rub shoulders with Santeria. While one doesn't emerge unscathed from this kind of experience, Adrait's painting is all the better for it. Animist, pagan? Or "humanist," in his own way? What he places at the heart of his painting is man, not to destroy him but on the contrary to reconstruct him, restore him, and show him again. Adrait is no sniper, but he knows how to be on the lookout for the (sometimes contradictory) power plays that circulate in a body, behind a face.