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Youri Nerriecportfolio
Mutin
The artist Thierry MUTIN is one of the figures of post-human art, an artistic current at the frontier of science and the arts, born in the USA in reaction to the transhumanist perspectives of mutation of the society and the man in General…
As a visionary, Thierry MUTIN transports us into a new world, the future of the Enhanced Man (H +), as fascinating as it is complex, to which he makes us access thanks to his art as a digital painter, transforming each painting into one Real movie scene.
Transhumanism, Post-Humanism, Romanticism 2.0, Thierry MUTIN’s paintings invite us to reflect on the evolution of our species Sapiens, its hybridization with the Machines and the new powers born of our senses augmented in the future.
Artistic testimony of an exceptional emotional power, the work of Thierry MUTIN is a message of hope and renewal, visions of a future world where the Sapiens transcends its biology to reach a universal consciousness carried in germ at the beginning of the Third millennium, by the digital Infosphere and metadata…
Have we come to the end of an era? Could man and machine be one ? What will be our world of tomorrow ?
Thierry MUTIN gives us the results of his research through a work of creation and passion out of the common.
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Youri Nerriecportfolio
Mutin
L’artiste Thierry MUTIN est une des figures du Post Human Art, un courant artistique à la frontière des Sciences et des Arts, né aux USA en réaction aux perspectives Transhumanistes de mutation de la Société et de l’Homme en général…
Visionnaire, Thierry MUTIN nous transporte dans un monde nouveau, le futur de l’Homme Augmenté (H+), aussi fascinant que complexe auquel il nous fait accéder grâce à son art de peintre digital, transformant chaque tableau en véritable scène de film.
Transhumanisme, Post-Humanisme, Romantisme 2.0, les peintures de Thierry MUTIN nous invitent à une réflexion sur l’évolution de notre espèce Sapiens, son hybridation avec les Machines et les nouveaux pouvoirs nés de nos futurs sens augmentés.
Témoignage artistique d’une puissance émotionnelle exceptionnelle, le travail de Thierry MUTIN est un message d’espoir et de renouveau, visions d’un monde futur où le Sapiens transcende sa biologie pour accéder à une conscience universelle portée en germe, en ce début de troisième millénaire, par l’infosphère digital et le méta-data…
Somme-nous arrivés à la fin d’une ère ? L’Homme et la Machine pourraient-ils ne faire qu’un ? Quel sera notre monde de demain ?
Thierry Mutin nous livre les résultats de ses recherches à travers un travail de création et de passion hors du commun.
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Youri Nerriecportfolio
Teman Animaux
After some years as a dentist, Brigitte TEMAN decided to become an artist and to devote herself to sculpture. Since her childhood, sculpture has been haunting her. However a rigorous education imposed her to take a more conformist way in life.
Nevertheless, and for our greatest pleasure, passion was stronger.
In order to improve her style, she often visited and learnt in many art workshops under the supervision of some different masters.
She made many nudes, classical at the beginning then more stylized. Then she made animal sculptures at the same time, developing her own style about bas-reliefs and high reliefs.
Her favourite material is bronze but she uses some materials full of bronze powder too. She works with some famous foundries such as De La Plaine, Chapon and Landowski.
Brigitte Teman particularly endeavours to make her sculptures alive, using feelings such as serenity, tenderness, kindness…
Since 2005, she has been exclusively exhibited in Mickaël Marciano galleries.
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Youri Nerriecportfolio
Teman
After some years as a dentist, Brigitte TEMAN decided to become an artist and to devote herself to sculpture. Since her childhood, sculpture has been haunting her. However a rigorous education imposed her to take a more conformist way in life.
Nevertheless, and for our greatest pleasure, passion was stronger.
In order to improve her style, she often visited and learnt in many art workshops under the supervision of some different masters.
She made many nudes, classical at the beginning then more stylized. Then she made animal sculptures at the same time, developing her own style about bas-reliefs and high reliefs.
Her favourite material is bronze but she uses some materials full of bronze powder too. She works with some famous foundries such as De La Plaine, Chapon and Landowski.
Brigitte TEMAN particularly endeavours to make her sculptures alive, using feelings such as serenity, tenderness, kindness…
Since 2005, she has been exclusively exhibited in Mickaël Marciano galleries.
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Youri Nerriecportfolio
Surin
Born in 1949 in the Adennes, Jean-Paul SURIN joined the Ecole des Beaux-Arts after demonstrating his passion in art. His painting is powerful, soft, vigorous as well as subtle.
The artist loves taking his inspiration from atmospheres, odours, colours in order to give lightness and matter to his work, and return natural beauty to nature. Surin is an oustanding landscaper, drawing his inspiration from various subjects such as Breton shores, Paris in autumn, provincial countryside or even Morocco. His landscapes overflow motions and lightness. His canvas, curved in the matter, combine classic style with nearly abstraction.
His art work is exhibited all over in France and jumps over boundaries to delight those who appreciate it.
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Surin
Né en 1946 dans les Ardennes, Jean-Paul SURIN développe sa passion pour la peinture et part rapidement étudier à l’Ecole des Beaux-Arts.
La peinture de Jean-Paul SURIN est à la fois virile et tendre, vigoureuse et subtile.
La matière est présente dans ses œuvres bien plus qu’ailleurs. La peinture se fait relief sous le coup de la spatule et du couteau.
L’artiste aime s’inspirer des ambiances, des odeurs, des couleurs, pour apporter à son œuvre lumière et matière et rendre à la nature sa beauté originelle.
Jean-Paul SURIN est un paysagiste exceptionnel qui s’inspire de thèmes variés tels que les côtes bretonnes, Paris en automne, la campagne provençale ou encore le Maroc. Ses paysages regorgent de mouvement et de luminosité.
Ses toiles, comme sculptées dans la matière, allient une facture classique à l’élan d’une écriture aux limites de l’abstrait.Expositions et distinctions
Les œuvres de Jean-Paul SURIN sont exposées et collectionnées en France et à l’étranger. Jean-Paul SURIN fait partie des artistes permanents de la Galerie MANER de Pont-Aven depuis le printemps 2017.
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Vinzhart
Vinzarth starts to get passionate about photography in the early 80s and gradually specializes in the field of architecture and interior design. For ten years, he discovers a new world. He showcases buildings and landscapes, modified and presented by the artist, according to precise and functional criteria.
During an exhibition in Monaco, he is fascinated by a painting in reverse perspective. This discovery triggers the desire in him to create anamorphic oeuvres from his photos. After a year of research and studies on angles of shots, different subjects, digital graphics, practise in editing and assembling; the first photographic anamorphoses become real.
Initially attracted by buildings and their face in cities, Vinzarth « anamorphically » transforms the Art Deco and Haussmann districts of Nice. Subsequently he works on aesthetic concepts, such as « La Defense » in Paris and on monuments like the « Louvre pyramid ».
The urge to get away from reality and let his imagination unfold pushes him, nowadays, to create his own landscapes in 3D, using colour, soil, and all kind of material. He frequently revisits the urban landscape and creates imaginary neighbourhoods with his art.
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Mariela
MARIELA GARIBAY (Lima, Peru 1976) is a graduate in sculpture of the University of Peru (PUCP) and in urban design of the University of Barcelona.
She is granted twice the Winternitz prize in 1997 and 1999 and won the first prize of the national drawing contest in 2005. Her first solo show was in 2004 with stone as first material.
She has realized several state commissions in Peru, taught at the Fine Arts School of Ayacucho and PUCP. She has been developing her bronze technique, and exhibiting her sculptures permanently in art galleries.
Mariela tells us that the sculpture is not only shape, but the language the artist chose to communicate and the result of a work of preliminary interiorization on the message which she passes on. The sculpture is a discipline which requires some patience, many hours of work and love. Love for the idea, the work, the message and the unknown person who one day will discover it. This is essential to the success of the work. It can last months between the elaboration of a drawing and the realization of the sculpture. The sculpture is a slow but sure process. All the hours of reflection, maturation, work and given love, make me aware of the value of things, the artist confesses.
Her sculpture is figurative but not realistic; Mariela Garibay observes the world around her and transcribes it with a lot of tenderness through childish characters. The sculpture of Mariela Garibay is positive and generous, it immortalizes a moment of happiness seized by the artist, a peace moment, a good memory, a smile, a surprise, a simple and sincere enjoyment.
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Mariela
Mariela GARIBAY (Lima, Pérou 1976) est diplômée en sculpture à l’Université du Pérou (PUCP) et d’un master en dessin urbain à l’Université de Barcelone en 2008.
Elle reçoit deux fois le prix Winternitz en 1997 et 1999 et gagne le premier prix au concours national de dessin en 2005.
Sa première exposition individuelle date de 2004 avec la pierre comme premier matériau.
Elle réalise plusieurs commandes publiques au Pérou, donne cours aux Beaux-Arts de Ayacucho et à la PUCP. Elle expose son œuvre en permanence en galeries et développe sa technique avec le bronze.
Mariela nous raconte que la sculpture n’est pas seulement forme, mais le langage que l’artiste a choisi pour communiquer et le résultat d’un travail d’intériorisation préalable sur le message qu’elle transmet. La sculpture est une discipline qui requiert de la patience, beaucoup d’heures de travail et d’amour. Un amour pour l’idée, l’œuvre, le message et l’inconnu qui un jour la découvrira. Ceci est indispensable à la réussite de l’œuvre. Il peut se passer des mois entre l’élaboration d’un dessin et la réalisation de l’œuvre. La sculpture est un processus lent mais sûr. « Toutes ces heures de réflexion, de maturation, de travail et d’amour donné, me font prendre conscience de la valeur des choses » confie-t-elle.
Son œuvre, figurative mais non réaliste, observe le monde qui l’entoure et le retranscrit avec beaucoup de tendresse au travers de personnages aux rondeurs enfantines. La sculpture de Mariela GARIBAY est positive et généreuse, elle immortalise un instant de bonheur saisi par l’artiste, un moment de paix, un bon souvenir, un sourire, une surprise, la joie simple et sincère.
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Arman
« I specialize very much in… everything,” the French-born American artist, Arman, revealed to an interviewer in 1968. “I have never been — how do you say it? A dilettante.”
Regarded as one of the most prolific and inventive creators of the late 20th century, Arman’s vast artistic output ranges from drawings and prints to monumental public sculpture to his famous “accumulations” of found objects. His work—strongly influenced by Dada, and in turn a strong influence on Pop Art—is in the collections of such institutions as the Metropolitan Museum of Art in New York, the Tate Gallery in London and the Centre Pompidou in Paris.
Born in Nice in 1928, Armand Pierre Fernandez showed a precocious talent for painting and drawing as a child. (Inspired by Vincent van Gogh, he signed his early work with his first name only; he retained a printer’s 1958 misspelling of his name for the rest of his career.) The son of an antiques dealer and amateur cellist, the artist absorbed an intense appreciation for music, the art of collecting and the cultivation of discriminating taste from an early age. After studies at the Ecole Nationale des Arts Décoratifs in Nice, Arman decamped to Paris to study art history at the Ecole du Louvre. His work in these early years focused on abstract paintings inspired by the work of Nicolas de Staël. An avid reader, Arman sought inspiration through books and art reviews, as well as during frequent road trips throughout Europe with his artist friends from Nice, Claude Pascale and Yves Klein. Inspired by the Dadaist collages of Kurt Schwitters, Arman’s first solo show, in Paris in 1954, exhibited his “Cachets,” assemblages and accumulations of stamps and fabric that were to prove an important step in the development of his artistic vision.
More consequential yet was his signing, in 1960, of the manifesto of the “Nouveau Réalisme” (New Realism) movement, with fellow artists Klein, Martial Raysse and Jean Tinguely, among others. “New Realism equals new, sensitive, perceptive approaches to the real,” asserted the document, and Arman set out on a new course, in which he would re-examine the artistic possibilities of everyday objects, elevating the banal to the aesthetic, and refuse into art.
Though Arman passed away in October 2005, the efforts of his wife of 34 years, Corice Canton Arman, and of the Arman P. Arman Trust, continue to ensure that his remarkable legacy—his ability to transform and elevate, his political engagement and his incisive humanism—will continue to affect and influence the world he loved so much.