Something that interests Mathieu Weiler most is to appropriate the real. To approach the multiplicity of the world, he investigates the multitude of languages. This research is marked by stylistic changes. Despite this, he is constantly concerned with this way of perceiving the world.
Tension between figuration and abstraction:
He tries to find an interaction between these two modes of representation.
Relationship between form and content:
There is a strong tension between the surface of the painting and subject. A dual or binary relationship.
Work in series:
Each painting corresponds to the other, each drawing is in dialogue with the others.
- The objects are real fragments removed from their context, like organs (heart, eye, ear). They are drawn in the center of the sheet, as portraits. The mosaics try to recreate a world, gluing together the sides of a broken mirror, creating a reflection of an exploded view of our universe. The pile of sand, the pipes, and the cinderblock never rebuild the landscape. The eye, the heart, and the ear will never arrive to renovate the ‘being’.
- The drawings are either white on black or black on white. They are decontextualized: no ground for pipes, not an urban landscape for concrete cubes, no environment for the sand pile, no face for the eye, no head for the ear... This causes a solitude to the object, to the subject. Almost melancholically.
Mathieu Weiler was born in 1976 in Grenoble, France, and currently lives and works in Paris. He obtained a honours degree at the Ecole Nationale Supérieure des Beaux-Arts in Paris in 2001. Weiler has participated in several recidency programs, including at the Villa Médicis in Rome, Italy, and the art center Synagogue de Delme in Delme, France. His work has been exhibited in various places in Europe, for example Paris, Brussels and Berlin.
Obscurité, Galerie Brun Léglise, Paris, France
21x12, La Ruche, Paris, France
Slick Paris, Angélique De Leusse, Brussels, Belgium