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No man is an island Painting

Matchoro Guy

France

Painting, Oil on Canvas

Size: 39.4 W x 31.9 H x 0.8 D in

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About The Artwork

When I started this painting in April 2020, during the quarantine of the COVID 19 pandemic, my country (France) was at its highest peak. Under these conditions, even though for an artist working in a studio which by definition is a confined space, how to stay in tune with the rest of the world was the first sensation I experienced as I traced on the canvas the sketches that constitute in a way the preparatory destiny of the painting, in the process. I progressed slowly on the canvas. The silence of the city that not a sound, not even a car came to disturb was favourable to concentration and meditation. The silhouette of an island took shape. "The true voyage of discovery does not consist in seeking new landscapes but in having new eyes" Marcel Proust (In Search of Lost Time.) Also, I thought of this poem of John Donne burning of topicality... « No man is an island entire of itself; every man is a piece of the continent, a part of the main; if a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as any manner of thy friends or of thine own were; any man's death diminishes me, because I am involved in mankind. And therefore never send to know for whom the bell tolls; it tolls for thee. » MEDITATION XVII John Donne -- Delivered in a secure wooden box

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:39.4 W x 31.9 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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