“Le fantasme dont nous parlions pointe cependant cette verité: le désir humain, ignorant de l’ultime objet qui le cause, le rencontre par déplacement ... Tout le monde cependant ne se trouve pas à cette place où un objet le constitue comme non-manquant ... dans une pratique source de cette jouissance où le désir s’ éteint ...” (Alain Delrieu, 1988)
"Non far rumore, non parlare: i sogni dello sguardo, del cuore, della mente stanno per esplorare una foresta."(Jean- Joseph Rabearivelo).

There are poets and artists so rooted in the lands from which they hail that they themselves become a reflection of that environment: light, sound, color and smells of their homeland air.

Some seem “painted by these places”, as though Mother Nature, among her maternal impulses, has cultivated even the color of the souls of those who live there, to mold them in secret, to warm them in her womb, to be reflected in them.

An artist, with this indelible connection, can create a bright and solemn imprint, where his senses are so heightened as to make urgent the exchange between his emotions and the environment – and allows charm, wit, passion and permanence to prevail.

The spell cast becomes even more powerful when life separates the artist from the place so rooted in his heart, and are reflected as ghostly pieces of his past, particularly powerful because they are now unattainable. In his sweet words Jacques Lacan tell us that every human being is destined to follow his life driven, like an high voltage wire, to inescapable realities and dreams (désir) .

The projection of the artist beyond the real, in despotically moves dictated by the Unconscious, generates a feeling of tension, which at one time is suffering (la manque), desire (désir), and finally the project of life, existential trajectory (trajet).

Caline Dalberto is such an artist, or rather the observer, creating powerful and vivid images from her homeland: Madagascar.

Her work is not that of an abstract surrealist; rather, it is attached to that land, her history of life and her experience growing up there – reflecting on her time in exile and her endless struggle to get back to the “place” where she can find peace.

One painting reflects this tension: “The Useless Blue”.

As an artist in exile, Caline’s memory becomes energy, life force, syncopated gesture, and wild expression.

Madagascar is her Eden – a place that inspires memory to recreate and demands to impress.

At the same time, in her work, Caline Dalberto seems to keep track of a mystery: it is a timeless universe that supports peace and quiet while allowing for significant transformations – with sparks, explosions, and magma that can be relentless, turbulent monsoons and oceans and the grandeur of flocks in migratory flight?

It is a place where the savannah is enveloping, where the violence of the tropical sun pierces the sky? (another constant character in her work).

Fragile and sentimental, Caline’s painting has nothing to do with these feelings.

Like Madagascar, where she -quite literally- saw the light, Caline is a mélange of cultures.

Nomad: "Nomadic populations are by definition peaceful, because in their essence of life need water wells, shelters, trade with sedentary peoples whose lands pass through." (Bruce Chatwin).

The exoticism of Caline Dalberto is evident for us to see in her work.

Born in Diégo Suarez, she uses the colors and vibrations that are both profound and authentic.

And her Africa is not a monolithic place – but rather one of the many Africas real and imagined.

An Africa not african: Madagascar.

In her work there is a polemical glow in the way she uses saturated color to express her emotional state -whether a return to innocence, or love or anger.

Saturated color embodies these emotions.

How much anger lurks in her red skies, dizziness in gold, the fiery sunsets in tourbillons, in feux follets, in storms of blue, brownish in flames, in bursts of green in the heavens fallen?

How conciliatory, or how courageous and roaring her signs?

Sudden, lightning shots, strips, curves, clouds, simulations dizzying wind and sunlight?

Placid or apocalyptic star clusters, meetings and clashes of color, thickening of blood on the Pain de Sucre, halos around the austere profile of the mountain, shadows, silhouettes that stand out on the net swirling backgrounds?

Not only the mountain, but also heaven that surrounds it and above it is under investigation.

The sky Caline creates is a conglomeration of moving masses of clumps of matter that seem formed by dissolution of rocks and which, on closer look, perceive enigmatic anthropomorphic presences.

Our thoughts turn to the spirit of the dead, a spirit indelible and ubiquitous in cultures more resistant to alienations of modernity.

Even a single painting can show, on the fly, all poetic tension - strong, passionate, conflicting - of an author who has made her the highest aspirations of mankind; but still, with lucid and very secular, stays perfectly aware of the fact that utopias, while necessary, produce conflicts, misunderstandings, even disasters.