Seller's presentation : Artiste Professionnel

I participate in major art market bastille 2010
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Training and influences.

Native of Marseilles, Claude Micheli has followed the teaching of the School of Fine Arts, completing his training as an autodidact and through contacts with other artists, Marseilles and Paris.

The influence of the classical masters is evident in most of his works, including the Italians of the 16th century. We indeed detected in his oil paintings and pastels in the same vibrations of light and shadow contrasts recalling both violent and velvety Caravaggio, or sfumato of Leonardo da Vinci… The research of modeling, including in his drawings and his early works is probably his strength to Michelangelo.

Romantics like Caspar David Friedrich or Russian Aivazowski have also left their mark on his inspiration, but instead of nature proceeds from Micheli advantage of Eastern thought: the transience of all life or any object used as revealing the ongoing cycle of cosmic life. The search for truth as truth at once intimate and universal premium on the search for beauty, it is only the culmination of meditation.

Thus the bill of certain works, which may recall the hyper-realism is more to consider as time patient meditation, access to the universal through the study of truth of detail.

Among more contemporary writers who have marked Claude Micheli include Jackson Pollock, which he keeps stains thrown randomly as much trace constituent of life, Francis Bacon, whose faces transformed in the process of erasure evoke the work de Micheli, which aims to reverse the reconstruction of human faces from raw material, which extracts the living body… Pen and ink drawings of old timbered, pastels branches). These appearances / disappearances of human body in a climate of strangeness are not reminiscent Dado. From these two painters, Micheli also willingly adopt the bill perfectly controlled, including the apparent academic strengthens the element of surprise.

Evolution and guidance.

Despite great diversity, embodied by the variety of techniques, materials and styles used over time, the work of Claude Micheli is led by some inspired elements, which appear regularly in its production. These are some forms (square), certain materials (different tissues or physically present in his works, is represented as a drapery for example) to plant materials like wood, used as is or reproduced precision surreal (in his old drawings in pen and pastel currently).
Concerning the main themes of representation, rather than applied to describe the alternating visions of human nature, or more abstract shapes, better cut out the work according to the two themes, often entangled found there at all times: it is the presence of the mask and that of time.
Mask, as an obstacle to the contemplation of the human is represented in his first paintings in the form of draped fabrics, completely encloses the object and hidden from view. The superposition of the square mask as a light that always seems to come from behind. The light fabrics, made like sails, and signs outlined in watercolor have a role mask, fake screen is not in itself a work of art, but partnering with the crosses: just a little air, some water, a little light. The mask can be indeed ridiculous and eventually fall completely, leaving the human to show its interior; is done in pastels where branches appear with a penetrating relief, as if the body was finally be revealed in broad daylight.
The mask can also be the time that lends to older objects, or no mask, the mark of eternity. This establishes the link between the theme of the mask and the Time is the relationship between man and nature. Whether it is imaginary (as in fantastic landscapes inspired the early years) or substantive (like the seas and skies), it deploys its eternity without a mask. It also offers the spectacle of transformation of all creation by the Working Time as a succession of masks, bringing the man thought of his own mortality: whether drawn to the ruins pen, scars random scraps of worn, the mending of old tissue, scarring of the trunk cut repeatedly, looking down on the human nature in the door… Therefore, when in contact with the timelessness of heaven or the sea, he draws lines, as ridiculous orthogonal cues.


Goals.

Currently, Claude Micheli seeks to highlight the dimension of cosmic objects that are tiny shrubs hedges, revealing their organic life and all creation live, real or imagined they contain. Releasing the charm, and exposing its interior, it leaves the viewer to expand the scope of his imagination running (anagram… ).





Solo Exhibitions:

1976: Marseille Galerie Amandine
1978: Marseille Galerie l'Imaginaire
1979: Marseille Galerie l'Imaginaire
1989: Marseille Gallery of Gallery Picture gallery
Dakis trails and other
Annecy 1980 Gallery Behr International
1983 / 1985 Düsseldorf, Munich, Kirchhem Gallery Crokodil
1986 / 1987 Paris gallery Patriarchs
1989 Versailles Gallery of Geôle
1989 Vals…