1981 - Georges Yatridès, documentary on the expression of the great artist style

Documentary translation

Often, a painter’s studio recalls an alchemist’s laboratory: phials, bottles containing mysterious liquids, solvents, resins, lacquers, brushes and colors- obviously- and a jumble of strange items.

Such an extraordinary decor would only be complete with an array of arcane texts and ancient folios. At Georges Yatridès’, one can only find the Bible and religious books dealing with the sacred, the esoteric, and mysticism. Does that mean he favours the occult sciences, Gnosis, even the unspeakable? Why not? We have no choice but to accept that the painter faces mysteries, darkness and light, with the rigidity of a ruthless design.

The serenity and balance found in Biblical Bread came at the cost of renouncing the oppression of colours and artificial pictorial brilliance. Even so, how many compositions by Yatridès are a fabulous base for audaciously matching and mixing colors; how they resist every solution because the original work, the matrix, constitutes an indestructible structure.

Nevertheless, there used to be a time when colors reigned over each of Yatridès’ paintings, to the detriment of an unstructured, stretched drawing that submitted to an impulsive palette: his Fauvist Period.

This self-imposed fantasy, however, was only a seeming one. Because, above playing with color, Yatridès was pursuing a goal: the mastery of the pictorial material. He could turn a stroke into a crest, an outline, etched furrows into the paste, created soft grounds to play on transparency. The pictorial mass is irresistibly turned into primitive material; it flows, ochre and warm from the womb of the earth and acquires a function of its own in the most diverse compositions: still lifes, landscapes; it rises to such a degree of perfection and independence that a mere detail, framed separately, achieves the status of abstract composition.

Other components stand out little by little from this primitive material: stripped, almost vitrified grounds, surfaces covered with in transparencies, which exalt the inner layers; celestial spaces, with their colours fading with fluidity, but either filled with formidable and asymmetrically- shaped clouds or objects emanated from out of this world.

The whole composition is transcended by the free play of light that neither the shadows nor the outlines can restrain.

Faces have been torn away from the limelight of the unexplained and have been purified, transcended by the design, but the serenity they achieve, this tranquility that no longer requires a body, is the result of a long quest for the mastery of a pictorial technique. The story of the painter achieving the best of his craft is also the story of a knowledge and a rearrangement of the universe. What is clear is not simple. Only a technique pushed to the limits of expression could bear such a complex, fascinating and accessible worldview.

The seemingly infinite space, however, knows limits. It is Man, the essential object of Yatridès’ questions, asks questions of the world he has created.

It seems just as absurd to impose a form to a content as to distinguish a pictorial science and a message to decipher.

All his work revolves around one goal: to progress from confusion to clarity and in that view, utilize exclusively the painter’s tool: paint. This statement is far from usual at the end of a century when confusion in this regard prevails.

2013 © YatridesArts.com - Tous droits réservés.