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Dive into the Question #7 Painting

Matchoro Guy

France

Painting, Oil on Canvas

Size: 13.8 W x 13.8 H x 0.8 D in

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About The Artwork

"Dawn will come and then the show they made will disappear, Sheol* the home for them!" (The Jerusalem Bible) This study is one in a series of square small formats. I started this work during the last autumn period (2014) about the All Saints' Day, or Day of the Dead which happens every November 1st in France. While going, every year at this time, visiting my father's grave, I realized then that I had become older than my poor Dad and as never before I lost all my landmarks*. On leaving the Cemetery, I experienced and meditated upon all my experiences. Back to the studio, digging in my spare part stock, I found a square small frame (35 x 35 cm / 13.7 x 13.7 in) which triggered my inspiration. I felt by chance on an old mirror card which was reflecting my face, twisted and distorted. I then cropped the image though the wooden frame which fit perfectly with a head's size. But I was in something of a dilemma. For some years now, my research is going toward abstraction. I always thought that abstraction appears more close to reality, in any case, reality such as we live it today which is a fragmented and popularized real through the media completion… and in regards to reality, it seems to me that the important and strong thing in painting doesn't appear in this constant circulation of the images, as in painting where tactility and physical presence have a report as well on the scale as with the opticality. So with that, the way of a painter would not be reduced to the opposing representation/abstract idea. It really was of concern to me, so I started to look into it more and more. Furthermore, how to avoid falling into the fascinating poisonous trap from the carnivorous spell of the famous portrait's studies of F. Bacon with which this actual work attempts to get in resonance? Painting requires a specific experiment where the process is an act of contemplation and meditation. The artist is nourished of the whole history of Art and the pictures are nourished by painting which falls under a concept of historical continuity of the Painting where intervenes the personal history of the artist… This is also why this series of studies tries to negotiate between human intimacy and abstraction. *Sheol (שאול): Untranslatable Hebraic term, that refers to the “stay of dead". The eminent biblist William Foxwell Albright points out that SHE'OL seem to share the root of SHA'Al, which literally means “the question”. *Landmark: Also noteworthy is that in French this word is said: "repère" \ʁə.pɛʁ\ that sounds like "père"\pɛʁ\ ("father"). To even go further on the desire at play in intersubjective fields, "re-père" would mean "re-Father" in the Lacanian sense.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:13.8 W x 13.8 H x 0.8 D in

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Statement: REALITY IS IN THE MANUFACTURE OF THE PAINTING. WHO: Guy Matchoro, is an autodidact artist. He lives and works in Nevers, France, where he has installed his studio since 2013. After a creative process nourished and fuelled with encounters and artistic collaborations, in particular in Kyoto, Japan, where he lived for a time, he focuses its studies towards a pictorial approach based and thought from a materiality of painting. WHAT: I began the past years a pictorial practice fully based and thought from what was strictly physical and material in painting. I have always been fascinated by the materiality of painting by its tactile side - its tactility and how this affinity should be able to finally transmit feelings and ideas which could be very very abstract. My relationship to painting is not any more in term of capture of the real-world. It is the picture in itself which is reality. What is the reality ? It's the reality of the act to paint which comes to appear there. I any more will not seek something elsewhere to nourish it or to justify it. WHERE: I placed myself by the teachings that I have learned from painters, books, museums, exhibitions, writings, but even more by traveling around the world... And the development of the practice in this line, while on the move, or working in the studio, in front of that tradition of the abstraction not like a stylistic choice but rather like a way of placing itself with respect vis-à-vis the Real. WHEN: My «job» as a painter is made up of moments. A series of moments of truth which represent actually the taking risk of the artist. The moment of truth is “of truth” when it irreversibly fixes something on which you cannot return: One moment that you cannot play again. If time is closed implacably with our incapacity to be able to play again, in the same time, it opens us to an infinite depth with freedom to produce the new one. Painting confirms what time affirms while making use as much of the daily life that moments of truth which are works of art. A time when nostalgia under the influence of memory leaves place and gives life to the merry assent of the incipient future.

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