Le Matièrage

Le Matièrage: marriage between material and painting.

  • The use of the material as a foreign element and innovation in the conventional practice of painting, allows us to structure and articulate the illuminated area. By playing with the real movement of the light, it creates a new dimension and brings symbolic levels to the concept of the plastic and the creation of the space .
  • Pasting introduces us into a new reality and adds to the plastic a singular characteristic. Due to the fact that it is more sensory, it allows to bring suggestive values to colour and material. Usually it is not used to represent objects but as a mean of its symbolic representation.

In the "Matièrage" unite elements that usually would be incompatible. They give rise to quite unexpected combinations that are arise items that remind us of the realities of ordinary life. It is a consequence of the invasion of the daily world in art.

• Using items that belong to Visual, or mental, quite different categories that paradoxically, by the knowledge of the artist can contribute to a conventional, solid and compact result and more, consistent.
• Simultaneously with the paint and the matter, are incorporated pages of newspapers and advertising posters we can manipulate to maintain a few fundamental elements in the composition. Sometimes some colours of paper are kept for use as basic and even as the final colour. This is what we might call a base of pigmentation. It is the same thing for texts which are introduced. These texts serve as elements to move messages and "tiny secrets" that the artist introduces in his paintings, laying down in this way a “fétichiste “language and signs. Paper finally integrates itself because it is covered in part by painting and colourful matter.
• Using advertising as posters manipulated information that contain graphic fragments of consumption, it gives this "confused provocation" a psychological value of the usual objects. It is like an internal mirror of such objects and it is in fact an appropriation of the real. It is a call to the essence of things. The artist claims to transmit the symbolic nature of the daily problems while trying to ensure that the eyes of the spectator focuses on more recognizable elements, surprising by the impact of the matter.
• The intellectual knowledge of the work process arises as a result of the Visual daring caused by the artisanal implementation of various elements that are more than one. Balance between the colour space and matter gives the table its real meaning.
• Inspiration comes from different objects of the literature and daily life that the artist filters on the canvas thanks to his power of association . Despite the diversity of subjects, it is a sole painting that changes according to the inspiration that gives the constant manipulating of collage and matter.

Its interest lies in removing any unilateral attitude by assembling and using items in a way voluntarily unexpected, as well superposable as only interchangeable , giving access plastically to the irrationality but serving as a basis or "bed" for the final implementation.
This is what the artist called "syndrome of the iceberg": outside, the mass that emerges shows a very small part of what remains hidden inside. Not only under the matter there are several paintings or objects and hidden items tests, but a complete painting involves others. This sometimes happens to be imperceptible because when created, by eliminating part of the material and replacement by new items, the result might appear to be the consequence of a direct process.

"Matièrage" gives a solution to "the obsession for fear of the vacuum on the canvas".

By the experience and its outcome, the application of various materials for a common goal is accepted and assumed today and employed with the same freedom as using conventional techniques of painting. Ultimately, the "Matièrage" is a means and not an end in itself.