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Many eras and currents of painting have made light the primary characteristic of pictorial research at the time. From rebirth to Caravaggio, we have seen the development of Clair-Obscure in painting. In the heyday of English Romanticism, William Turner, widely regarded as the forerunner of Impressionism, was called a "painter of light". Impressionism itself theorized light and its writing on canvas. We even come, even today, to very authoritarian statements as Gilles Genty may have: "The only material in painting is light.".
It is therefore without counting on these painters who, by opposition, as in response to all this research, created in Europe, at the beginning of the 20th century, the so-called “materialist” painting, in this movement supported by Michel Tapié, many have were the painters who could find themselves in this practice. We could therefore easily postulate here the importance of light on matter and / or vice versa.

What then happens when the use of matter rightly allows the "highlighting" of a daily landscape that we all walk through but no longer look at? We know it, having already been written on several occasions, Côme Clérino, finds the patterns and the materials on which he is inspired, in the street. On the paths that lead him from his home to his studio, in more ambulatory wanderings, or even in the journeys of collecting "patterns / materials" that he carefully compiles in his notebooks.