ENTRE BÂLE ET MARSEILLE
14 JUN 2018
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.
Inexhaustible source, constantly renewed: the street certainly. Especially an urban space with rapid transmutation where the walls deteriorate, the posters tear, the sites multiply and transform as they advance and leave behind them, the traces of construction and the debris, which erect new walls. . New decorum for our daily trips and the artist’s daily trips.
It is all these materials and all these changes that can be found in the works of Côme Clérino. Foams, resins, plastics and coatings, so many materials with contradictory properties: friable, brittle, solidifying or malleable. So many combinations with which he composes and arranges, as with so many colors on his palette. Except that in the absence of a simple color that reveals or reflects light, a combination of material-color effects is applied here, directly borrowed from the range of our daily urban life.
Very often in his notebooks (endless color chart as opposed to the wisely numbered Pantone) which he uses to reproduce in prints, paintings or pictorial installations, the compositions of matter which, over time, take more and more freedom. and come out of the sheet or frame format. Even if it means drawing inspiration from pictorial elements collected from the walls of the city, Como very often presents his work in large frescoed panels, more or less large, detached from the walls of the exhibition space.