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Elementary particles Painting

Matchoro Guy

France

Painting, Oil on Canvas

Size: 51.2 W x 38.2 H x 1 D in

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About The Artwork

As imperceptible, discreet, as obscure as it may seem, is the famous fresco "The Creation of Adam", by the Renaissance master Michelangelo enthroned in the center of the ceiling of the Sistine Chapel at the Vatican in Rome, which has guided my steps in this work. 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. 

 "Art is always more abstract than we can imagine. Form and color talk about form and color, it all ends there". Oscar Wilde 

"In art, as painting, as music, the question is not to reproduce or invent forms but to collect forces. Hence, no art is figurative. The famous statement of KLEE “not to render the visible , but to make it visible” does not mean anything else. The objective of painting is defined as an attempt to make visible things that are not.” 
G. Deleuze, F. Bacon : Logic of the sensation. Your dreams require of you to risk, leave comfort to exist in the world, to be different, to disturb, and to believe in you.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:51.2 W x 38.2 H x 1 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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