1984 - "Georges Yatridès, The painter outside the tumult" - quotation by René Char - (Narrated by Alexandre Bourmeyster)

Part 1

Part 2

Part 3

Part 4

Reportage transcription

PART 1

(music playing)

Where do we come from? What are we? Where are we going?

What are we? Where are we going?

Entering the world of Yatridès reminds us of Gauguin’s famous questions, only we experience the strange feeling that he has already answered questions yet to be asked. It seems just as absurd to impose a form to a content as to distinguish a pictorial science and a message to decipher.

Isn’t this self-asserting and provoking formal perfection the true main topic of Yatridès’s work?
This unexplainable beauty worries and disturbs. One gazes at the painting in vain, looking for a weakness or a clumsy correction. Repentant, the painting reveals itself with the calm impudence of a divinity that knows she is inaccessible because she is unapproachable.

Yatridès set his sight on exploring infinite pictorial possibilities by mastering successively all the different art forms of the 20th Century. By combining an abstract message to a figurative composition, Yatridès’ work is not meant to resemble reality. The result is an utterly original creation that knows no model and no referent in the natural world. A Yatridès painting is literally an abstract painting covered with areas delineated by strong lines and treated in an autonomous manner, so that each composition allows the artist to explore the different techniques he has mastered to their apogee.

PART 2

Striving for the Absolute can tolerate neither technical concern nor spiritual torment. It forms a whole. That is how Yatridès causes a strange metal slab to rise up into open space. It reappears a few years later in Clark’s novel 2001: A Space Odyssey, to be followed even later in Kubrick’s film. Yatridès creates a universe and fills it with questions ahead of his time.

PART 3

Measuring time... Contemplating Yatridès’s work constitutes a rare privilege this parsimonious Century rarely grants: a way to transgress beyond the boundaries of our own finiteness and accede to timelessness, even eternity.

The illumination conveyed in the painting is not meant to provide a snapshot of reality or freeze an ephemeral relationship between objects that depend on time and space into some deceptive eternity. It is a superfluous, a free gift that the painter gives to his creation. It is “free” because the painting is already programmed by the initial design, but it is also just as vital as freedom, hope and grace. This light distorts and reconstructs what had been everlastingly fixed. Outside of time, it becomes time itself, the time of a finished work.

PART 4

What is clear is not simple. Only a technique brought to the limits of expression can carry such a complex, fascinating and legible vision of the world. Yatridès’ work is not meant to vie / outdo / match the perfection of Greek art. It is a fantastic leap forward in accordance with a widened perception and expression, serving a metaphysical ambition: the mastery of time through an art that transcends human boundaries and resembles an act of God.

What is clear is not simple. Only a technique brought to the limits of expression can carry such a complex, fascinating and legible vision of the world. Yatridès’ work is not meant to vie / outdo / match the perfection of Greek art. It is a fantastic leap forward in accordance with a widened perception and expression, serving a metaphysical ambition: the mastery of time through an art that transcends human boundaries and resembles an act of God.

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