My journey towards abstraction has been done gradually. Until the year 2000 my pictorial investigations were focused on the figure. It was through some variations on a single theme, some backlit chairs, that I realized that it was not really the theme that interested me, but the space, the light, and the structure that inhabited the surface of the canvas.
The technique used is the result of several years of experimentation with various resins as binders. Currently I use a mixture of marble dust and pigments, which are bound with acrylic resins. Once mixed, I arrange them in airtight bottles that form the colors of my palette. I pour the paint onto the canvas lying on the floor and paint with brooms and wide brushes.
In my most recent research I incorporate metallic surfaces, such as collages, which allow me to highlight the painted part and which give solemnity to the work. I rest information in my visual expression to amplify its mysticism and give it more strength and timelessness.
Regarding my recent sculptural works, it is a logical continuation of my painted work. I have always represented non-flat abstract spaces in my paintings. Color planes have always been superimposed that give a feeling of depth, that is, of space. My sculptures are an objectification of my paintings, but always without losing what is important to me: light and space.
My artistic references are diverse; there was abstract expressionism, then the French movement “Supports / Surfaces”, but in recent years I have been mostly influenced by nature, the complexity of its effects, not only visual and luminous but also thermal. I am also influenced by the work of artists Gordon Matta Clark and Anish Kapoor who, through abstract forms, invite a rereading of perception, which makes our senses fluctuate between coherence and pleasant destabilization of our approach to reality.
Presentation of the artist
“Yvan Mas’s work is defined by his textured paintings, with colored surfaces delimited by structures that create an atmosphere of depth. It is inspired by the HAKUGINHI or number of money (Japan), which would tend to approach a certain spirituality and perfection of forms. He discovers the emotional force that geometric shapes can transmit without giving up the color and light that are essential to him. The gesture, always in relation or in conflict with a delimited surface, is the strength of this artist’s work ”.