Description
A sense of reading, an autonomous language
The history of abstract art is essentially a history of the autonomy of pictorial language. The proclaimed absence of subject – in the sense of “theme” – decompartmentalizes art and frees it from its objective of capturing reality. Called to become a non-mimetic artistic form, abstract painting becomes a universal and spiritual language, a transmission from soul to soul, of a pure creation substituted for the imitation of the material world. It is the gaze that one poses – and not the aesthetic intention – that leads to abstraction.
Following the many revolutions of the last century, some artists reacted to the upheavals that affect religious beliefs, social patterns and science. They fight against the materialism of the XIXth century, hoping to find a new impetus turned towards the future. Abstraction is then thought of as a pictorial hope, a visual language of shapes and colors.
Ultimately, if abstract art is extracted from reality, it is perhaps only the representation of an invisible world, where only the figurative artist has access.
Michel MORENO & the Manifesto of Syntho-Chromism
Michel MORENO – born of a Norman mother and a Spanish father in 1945 – studied at the School of Art and Technology in Paris. From his first paintings, he emaciated and lengthened his characters, in a style that he himself would qualify as “Miserabilist Expressionist”.
Guided by his inspirations, Michel MORENO studies the light linked to color and he exposes his reflection in his Manifeste du Syntho-Chromisme in 1976. He copies the effervescence of life to color, where color stands out when it becomes light. For Michel MORENO, as long as the colors and shapes intertwine, they tend towards intensity.
The New Orleans Jazz – which he is particularly fond of – inspires many of his works which he punctuates with cellos, pianos and guitars.
Among his collectors around the world, he won over Oscar Ghez, the founder of the Musée Le Petit Palais in Geneva.
The work & its composition
Michel MORENO creates an intense game between him and his spectator, offering him a privileged position suggested by the intuitive reading of his work.. As in any figurative work, the artist works on sensation and transposes emotion.
The work does not recall any concrete or natural form. The title contributes to this desire to free oneself from reality. Neither landscape nor still life, the work exists graphically thanks to the games on color and form. Asserting the autonomy of the line, Michel MORENO gets rid of any mimicry in order to focus on the effects of the elements between them.
The obvious domination of the triangle and the circle stabilizes the gaze by the confrontation of these two forms. One projects geometry, while the other becomes rounded. Small, curved, irregular, the figures intertwine and renderthe deeply plastic work.
While rounded shapes and triangles make up the bulk of the work, the artist favors interaction through a clash of bright colors. The irradiating presence of broad lines and the play of superposition highlight the depth and dynamism: distinctly defined by the effects of lines, the shapes seem to be moving; they grow or shrink depending on the viewer’s perception.
The precise outline delimits the subject, as if placed on paper, he feels the need to extract himself from it in order to exist, apart from the dazzling intensity of such a meeting of colors.
Inspiration
By its composition, this work alone brings together the suprematism of Malevich, the informal aestheticism of Kandinsky and the cubist deconstruction of Braque.
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