Clément Mancini

Clément Mancini’s artworks are fragments of matters. The Reading is not in the shape itself but in the demonstration of texture. Rough, dense, nimbled, smooth, colourful…. When the painter’s gesture with his tools on the raw coton canvas, the matters releases his insides, his fragility, his roughness, By applying plaster with a trowel - spreading, streching, scratching - emerge some striaes, breaches and diverse marks, that others would call imperfection, but that Clément Mancini seeks deliberatly to reveal.

This matters-language, echoes to informal art uphold by Michel Tapié, precedes the signe-language as the composition blossoms throughout the striaes. The Artist let arise forms and matters where the gesture leaves its mark and establish, therefore, a realtionship of identification with it.

In order to highlight the contrasts and curves of the body emerged from the artwork, the Artist drawn from a limited palette, oscillating between earthly and argillaceous, azur or even calcined colours. The acrylic film molds perfectly without burying this superficial layer and let arise some hydden paths. Similar to rinkles on one’s face, those life lines tell about the passing of the artist’s gesture, those moments where Clément Mancini, without other intention than the one to cause a happy accident.

To those thin and discrete striaes are add long lines created by a spontaneous strokes from the painter, with is brush he marks a coloured line or bright cut in the matters. The result is a writting more or less controled, that never goes over the space imposed by the support. He invites the Viewer’s eye to follow a path crossed by various asperities. Those big lines over small ones generate a ‘mise en abîme’ image of those reduced frames featured in the frame-paintings in some of Clément Mancini artworks.