«My work is to paint by starting with an anchor in the real, and from there to offer a different look at what surrounds us every day.»

Côme Clérino

Paris, France.

 

Could you tell us a little about yourself? What has brought you into the art world?

My family introduced me to art when I was very young, specifically my father. For example, my first memory of attending an exhibit was a Mark Rothko retrospective at the Paris Museum of Modern Art, I was nine years old at the time. But it was not always clear to me that I would be an artist, it took several years before I decided to dedicate my life to art. When I was younger, I followed different paths, always having this idea in mind. Then, I was drawn to the [school of] Beaux-Arts in Paris, and I think this period validated my ideas and choices.



Tell us about your works, they are often voluminous, I would like to know more about them. What materials do you use?

Some of my pieces are voluminous, but not all of them, it depends on the subject and the context. I like juggling volumes and supports. Then, I gather and try out a certain number of techniques. I use a vast inventory of mediums, including resin, tile glue, cement, plaster, silicon, latex, paraffin wax, acrylic, graphite, colored pencils, pastels, collage, prints, ceramics, monotypes, and silkscreen printing.
The list could be longer, it slowly grows over time and through experimentation.
My work is to paint by starting with an anchor in the real, and from there to offer a different look at what surrounds us every day.


Do you use sketches or it is always pure improvisation?

My work is balanced between two methods, I have a notebook in which I jot down lots of things, sketches, outlines, measurements, ideas, processes, actions, etc…. But there is also a lot of improvisation in each of my projects. This division allows me to refocus myself because I don’t like being completely free in my work. It is very different for me to create from nothing, I need to draw from something to begin improvising.



How much time do you spend in your studio? Describe your usual workday.

I spend a large part of my time in the studio, I love working there. I share this immense space with many artists, sculptors, photographers, ceramicists, architects, and painters. This mix creates a great atmosphere for work and inspiration, and it leads me to find new mediums.
My studio is a former tube factory which has now become an artists studio, a film set for shootings, and an immense showroom.
I dedicate the rest of my time to visiting friends’ studios, seeing exhibits, and travelling when I have the time.




What inspires you most in your work?

What I come across in the street, all the materials I discover, different artists’ exhibits from Mohammed Bourouissa to Helen Frankenthaler, and the different artistic practices that I experiment with in my work. Building supply shops are also an enormous source of material inspiration.
I also draw inspiration from my previous work, in fact, I constantly recycle my ideas to give birth to new versions of my pieces.
When I am not working on my own personal projects, I take part in collaborations with different people to feed my curiosity and my work. I think what animates me the most in what I do is the daily experimentation and the surprises that follow.


What about your plans for this year? Have you already planned any exhibitions?

I have several exhibits planned for this year, one in Paris and in Copenhagen in June, and two others in the fall in Wroclaw and Madrid. At the same time, I am working on projects in textiles, architecture, and culinary art. It is the chance to interpret my work in a new form, to constantly question it, to update it, and ultimately to make it evolve.


Your thoughts that you want to share with our readers.

Thanks to Abstract Mag for giving me the chance to speak.

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