Interview with Artist Clement Mancini

We are in love with the work of artist Clément Mancini which focuses on all types of  texture on surfaces which he displays by mixing both fragile and rough elements through his use of plaster and paint. We feel art critic, Elora Weill-Engerer, describes it best.

“Clément Mancini's work echoes this modernist conception of the work which considers the space of painting as an uninterrupted plastic surface that we look at as such and not through it. From there is created the effect of a “pure visuality”, of a complete pictorial whole which has nothing else to hide than what it offers, almost served on a plate. His painting is in fact autonomous: it rejects any mimicry and lets his craftsmanship see his tools as a mason.”

Greatest inspirations or influences?

I like the work of many artists and it is always difficult to select just a few, but I would say that the movement of the abstract expressionists of the New York school such as Joan MItchell, Helen Frankenthaler or Clifford Still, are my favourite.

The Supports/Surfaces and COBRA movements are also very interesting movements to me.

Also I like to observe around me when I walk down the street, I think it comes from my practice of graffiti when I was younger. This taught me to observe the city and its different surfaces. It is those traces of time that I see that inspire me the most : when the paint crackles, the iron curtains are rusting, and posters are torn apart. It feeds my repertoire of textures, colors and involuntary compositions.

Career highlights for you so far?

My career is not so long, it's only been three years since I had my own studio to really develop my artistic project. So I would say that the fact of settling in this first studio would be a good highlight, because this is what allowed me to really develop myself afterwards.

Tell us about your creative process
There are no preparatory sketches, I prioritize spontaneity and choose to face the blank support. What interests me in this approach is not knowing where I take my canvas, the freedom of the unknown. My reflexions are done directly on the final support. I like to start on canvas and let myself guided by spontaneity. The gesture, impulsive, causes errors, erasures, recoveries. All those steps will constitute my in fine pieces. 

The process of creation is quite simple, I use raw cotton canvas that absorbs the plaster when I spread it. Therefore I need a rather liquid plaster that I come to pour on the canvas laid on the ground, then I use a spatula to lay out the material. I really appreciate this step, it requires to let yourself go and inducts a very physical approach with the support. When the plaster is dry the work of the color intervenes, I apply the first layer of color with a spatula and intentionally let appear random surfaces of plaster and canvas. This defines the base of my composition.

How has the pandemic affected your creativity or your industry and how do you see things changing moving forward?

To be honest, this confinement didn't really affect me, it felt good to focus on things other than my painting and taking time to do other activities was something beneficial, so I feel very lucky. The future is unfortunately very uncertain, I hope that things will be able to return to normal as soon as possible.

Most interesting response you've heard regarding your work.

It's hard to say, any feedback on my work is interesting in my opinion !

Is there anything else you would like to share?

Keep safe and look at art !