03 July 2017
Are multicolor paintings more artistic than monochromes?
Sculptors have abandoned colors since ancient times.The creativity in forms of architectural and design beauty do not need colors.
One feels a uniformly monochrome object too simple. Are single color surfaces with rough textures to be considered more expressive? Since the end of figurative paintings, famous examples of monochrome paintings were produced as Malevitch’s “White on white”, Richard Serra’s giant black encaustics, Y. Kleins blues, the “Achromes” of P. Manzoni, the cuttings of Fontana and many others.
Is monochrome painting a kind of rebellion against classic style where painters searched a balance between “hot” and “cold” colors? Or a way to stress non-figurative nature of one’s painting?
Putting complementary or strongly contrasting pigments in one work can be perceived as drama expression, but we often associate strong emotions with one tint.
I call monochromes my works with a dominance of one color and its near variations. I call these experiments “monochromes”, even when in them one sees well some “secondary” nuances within the same pigment family or small touches and strokes in contrasting pigments.
In my production there are monochrome groups of “whites” (W), “grays” (G), “reds” (R), “blacks” (B), “yellows” (Y), “skin-colors” (Sk) and “texture” (T).
B 2012 Souvenir de ténèbres - Recalling dusks canvas 40 x 30
B 2015 Des noirs à broyer cardboard 20 X 20
B 2012 Blind's night canvas 10 x 10
G 2011 The rough past canvas 56x70
G 2017 Il Lete è un fiume tranquillo canvas 45 x 45
G 2016 Hm!! Silenzio significativo canvas 24 x 24
R 2013 Sangue amaro canvas 30 x 24
R 2013 Heat, wet spring canvas 18 x 18
SK 2013 After-life memory canvas 81 x 100
Sk 2016 Tendresse paper (Heavy hand-made) 29 x 41
T 2012 Fade-in, breath, fade-out canvas 70 x 90
T 2014 Ultimo tango nero 140 x 120 canvas
T 2015 An unfinished incomplete emptiness sandpaper 23 X 28
W 2014 "lux" dixit, iam lux erat paper 24x32
W 2015 Discovery of the "maybe" paper 24 x 33
W 2016 Il timbro dei cori di cherubini canvas 20 x 20
Y 2016 Unlimited Sahara canvas 50 x 30
Sk 2016 Rosy hopes, tender tunes (at 12) canvas 28 x 28
Y 2010 Soupçons ou traces de souvenirs canvasboard 40x40
When we look at some paintings, we would like to touch them, in order to complete our perception of their identity. “Texture” is the tactile quality of the surface of art works.Painting textures are the result of all the layers of materials, the directions of the tools used to apply the colors, the bindings of the pigments, the grain of powders and sands included, but mainly on the thickness of colors.
The paper grain and the quality of canvas contribute to textures.
I like to include many different materials, in the superposed layers to obtain “rich” textures. Those induce surprise and induce discovering new effects of brilliance and opacity at subsequent observations, specially when light conditions vary.
Matériaux que j’inclus parfois dans ma peinture pour obtenir des textures:
1. Marbre blanc (farine, granulé, gravier)
2. Sable de fleuve ou de mer (lavé)
3. Sable de Sahara et d’autres lieux visités en voyages
4. Quartz blanc (farine, granulé, gravier)
5. Granit (gravier) gris, rouge ou jaune
6. Liège en grain
7. Charbon de bois (en particules)
8. Basalte noir (sable)
9. Marbre noir (granulé, gravier)
10. Carborundum (granulés)
11. Graphite argenté ou Noir
12. Graphite en gros flocons
13. Mica naturel
14. Mica blanc
15. Billes et écailles de verre
16. Brou de noix
17. Poudres et limailles de fer de coups de maillet
18. Ponce en poudre
19. Fer neuf en poudre
20. Sciure de bois
21. Quartz (noir pour aquarium)
22. Ecailles de mur
24. Racines de garance