{"id":34,"date":"2020-04-16T16:41:17","date_gmt":"2020-04-16T14:41:17","guid":{"rendered":"http:\/\/zachmitlas.com\/?page_id=34"},"modified":"2020-04-30T12:35:20","modified_gmt":"2020-04-30T10:35:20","slug":"34-2","status":"publish","type":"page","link":"https:\/\/zachmitlas.com\/index.php\/34-2\/","title":{"rendered":""},"content":{"rendered":"\n

\u00c0 propos de la peinture de Zach Mitlas<\/strong>
Martial D\u00e9flacieux, janvier 2017

<\/p>\n\n\n\n

Il y a quelque chose de touchant dans la peinture de Zach Mitlas. Ce qui est touchant, ce qui peut nous saisir en regardant ses peintures, ce que l\u2019on peut en somme comprendre ; c\u2019est une forme d\u2019inaptitude. Terme dont l\u2019acception semble n\u00e9gative mais qui peut avoir bien des aspects positifs notamment lorsqu\u2019il s\u2019agit d\u2019art. L\u2019inaptitude est une forme de transgression que l\u2019on ne reconna\u00eet pas comme telle car elle est involontaire. La transgression est habituellement associ\u00e9e \u00e0 une volont\u00e9 de changement (ordre, loi, morale) exprim\u00e9e de fa\u00e7on radicale. L\u2019inaptitude est involontaire, elle modifie le r\u00e9el sans anticipation ni calcule et souvent tr\u00e8s discr\u00e8tement. <\/p>\n\n\n\n

L\u2019inaptitude picturale de Zach Mitlas est belle et bien transgressive. L\u2019observateur attentif ressentira vite un certain inconfort face aux couleurs employ\u00e9es, souvent les primaires avec cette pointe de compl\u00e9mentaire qui fausse leur identit\u00e9. Cette utilisation de la couleur, qui arrive \u00e0 surprendre malgr\u00e9 toutes les exp\u00e9riences dont la peinture a fait l\u2019objet en un si\u00e8cle, est li\u00e9e \u00e0 une dyschromatopsie. Zach Mitlas souffre en effet d\u2019un l\u00e9ger trouble de la vision qui modifie la perception et l\u2019utilisation des couleurs. De fait, ce que nous percevons est diff\u00e9rent de ce qu\u2019il peint. Peindre aurait pu consister \u00e0 \u00e9viter les effets de ce trouble, mais au contraire l\u2019artiste semble gr\u00e2ce \u00e0 lui, tenir \u00e0 distance sa peinture. Une distance raisonnable entre lui et elle, mais \u00e9galement entre elle et nous. <\/p>\n\n\n\n

Au del\u00e0 de l\u2019anecdote biographique et m\u00e9dicale, une partie de la nature du travail de l\u2019artiste se joue l\u00e0, sur le seuil. \u00c0 vrai dire, la notion de seuil pourrait m\u00eame convenir \u00e0 une grande partie de son travail. Beaucoup d\u2019\u00e9l\u00e9ments confirment cette id\u00e9e. Le seuil est le point de basculement, il s\u2019exprime chez Zach Mitlas par un besoin r\u00e9curent d\u2019investir les limites de la toile en les prolongeant de diff\u00e9rentes fa\u00e7ons, mais aussi par le d\u00e9sir de faire une image sur le point de dispara\u00eetre. Le besoin de prolonger les limites de la toile est pour le moment un vaste champ d\u2019exp\u00e9rimentation qui donne lieu \u00e0 de nombreuses tentatives (disparition du cadre qui soutient la toile, r\u00e9alisation de peintures murales, mises en sc\u00e8ne de la peinture sous forme de documentation) et l\u2019utilisation de diff\u00e9rents mat\u00e9riaux (b\u00e2ches plastiques, bois, pl\u00e2tre). En sp\u00e9culant un peu, on pourrait \u00eatre tenter de miser sur le devenir d\u00e9cor de ses exp\u00e9riences. Le d\u00e9sir de construire une image sur le point de dispara\u00eetre est encore plus visible. Ces images repr\u00e9sentent en grande majorit\u00e9 des espaces ou des choses abim\u00e9s par le temps. Les peintures ont parfois m\u00eames subi un pon\u00e7age qui a us\u00e9, pour ainsi dire, l\u2019image. Plus que la disparition, c\u2019est le vestige qui se manifeste dans la peinture de Zach Mitlas. Le vestige en tant qu\u2019arr\u00eat sur image ; ce qui reste d\u2019une chose qui n\u2019est plus. <\/p>\n\n\n\n

Ce qui reste de la peinture avec Zach Mitlas, c\u2019est son inaptitude salvatrice, quelquechose d\u2019aussi fragile qu\u2019instable et d\u2019incomplet qui dit beaucoup de sa perte, mais aussi de son autonomie face aux diff\u00e9rents r\u00e9gimes visuels qui lui contestent toujours un peu plus les derniers bouts de son existence.


\/

(EN)

<\/p>\n\n\n\n

On the painting of Zach Mitlas <\/strong>
Martial D\u00e9flacieux, janvier 2017 <\/strong>

<\/p>\n\n\n\n

There is something moving about the painting of Zach Mitlas. What is moving, that which can seize us while looking at his paintings, that which one can in sum understand, is a form of inaptitude. This is a word that in every sense seems negative but which can have positive aspects most notably in relation to art. Inaptitude is a form of transgression that one does not recognize as such initially because it is involuntary. Transgression is habitually associated with a drive for change (order, law, morality) expressed in a radical fashion. Inaptitude is involuntary because it modifies reality with neither anticipation nor calculation and often very discreetly. <\/p>\n\n\n\n

Pictorial inaptitude in the case of Zach Mitlas is indeed transgressive. The attentive spectator quickly feels a certain discomfort faced with the chosen palette, often primaries with a touch of their compliment, which deforms their identity. This use of color, which can surprise the onlooker despite the numerous experimentations of which painting has been the object in the last century, is tied to an impaired color vision. Zach Mitlas actually suffers from a slight vision disorder that modifies his perception and use of color. In fact, what the spectator sees is different from what he paints. The act of painting could have consisted in avoiding the effects of this disorder, but on the contrary, thanks to this anomaly the artist seems to have kept his practice at a distance. It is a reasonable distance between himself and his work, and equally between the work and the audience. <\/p>\n\n\n\n

Beyond biographical and medical anecdote, a part of the nature of the artist\u2019s work is enacted here, on the threshold. In fact, the notion of the threshold could even suit a large portion of his work. Several elements confirm this idea. The threshold is the tipping point, and it expresses itself in the case of Zach Mitlas by a recurrent need to flood the limits of the canvas by extending them by various means, but also by the desire to create an image at the brink of its disappearance. The need to extend the limits of the canvas is, for the moment, a vast field of experimentation that occurs in various attempts (disappearance of the frame which supports the canvas, realization of mural paintings, staging paintings in the form of documentation) and use of diverse materials (plastic films, wood, plaster). With a little speculation, one could be tempted to wager a guess about how these experimentations could become the subject of full environments. The desire to construct an image on the brink of disappearance is even more present. These images represent for the majority spaces and objects damaged over time. The paintings have even been subjected to sanding that has worn away, so to speak, the image. More than disappearance, it is the vestige that manifests itself in the painting of Zach Mitlas. The vestige becomes a freeze-frame, that which remains of something no more. <\/p>\n\n\n\n

That which remains of painting with Zach Mitlas, is his saving inaptitude, something as fragile as it is instable and incomplete, that says a lot about its loss, but also about its autonomy in relation to various visual regimes which contest always a bit more the last aspects of its existence. <\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00c0 propos de la peinture de Zach Mitlas Martial D\u00e9flacieux, janvier 2017 Il y a quelque chose de touchant dans la peinture de Zach Mitlas. Ce qui est touchant, ce qui peut nous saisir en regardant ses peintures, ce que l\u2019on peut en somme comprendre ; c\u2019est une forme d\u2019inaptitude. Terme dont l\u2019acception semble n\u00e9gative… <\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/zachmitlas.com\/index.php\/wp-json\/wp\/v2\/pages\/34"}],"collection":[{"href":"https:\/\/zachmitlas.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/zachmitlas.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/zachmitlas.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/zachmitlas.com\/index.php\/wp-json\/wp\/v2\/comments?post=34"}],"version-history":[{"count":11,"href":"https:\/\/zachmitlas.com\/index.php\/wp-json\/wp\/v2\/pages\/34\/revisions"}],"predecessor-version":[{"id":574,"href":"https:\/\/zachmitlas.com\/index.php\/wp-json\/wp\/v2\/pages\/34\/revisions\/574"}],"wp:attachment":[{"href":"https:\/\/zachmitlas.com\/index.php\/wp-json\/wp\/v2\/media?parent=34"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}