Guillaume MOSCHINI

Guillaume Moschini tackles the question of his profession as a painter without hesitation. He relies totally on colour. He creates his forms with a free hand, with a sure and precise gesture.

When I work, the question of what I am going to paint no longer arises. I only think about new colours, superimpositions, transparency effects.

Guillaume Moschini's palette is lively and contrasted: harmony of yellow and green, orange and blue...but also more muted chords, from beige to grey. The shapes are the simplest: two unbalanced rectangles with large breaths given by the whites or unbleached tones of the virgin canvas. The two shapes are then only a murmur, just a few contour lines in negative, eaten by the colour. The colour mixed with ink and acrylic is very fluid and each time it is given differently on the canvas.

With each series, Moschini looks for "the right brush, the right tools, the right tension of the canvas". Colours and tones are invented for each new series of variations. Her painting is of an "illusory simplicity". Long meditated in the solitude of a tidy studio, it is deeply felt. Everything is a matter of rhythm.

Guillaume Moschini draws his strength from American abstract painting: Morris Louis, Kenneth Noland, Ellsworth Kelly. All are painters of colour, sovereign! These two famous forms, distorted rectangles, a kind of generic gesture of the painter, are declined ad infinitum. In a certain way, they are opposed on the surface of the canvas in the sense that one is ascending and the other descending. But they can also complement each other, by their colour or their value, dig into the surface of the painting, break it up, destabilize it... The process is simple, the result of its unlimited application. For some series, it is the drawing that intervenes, for others, it is the ratio of positive to negative or the trace, the report, the memory, the reserve...