Mariano Angelotti

Artist - Orleans

A suspended time in which we look with astonishment at a place without interest, without importance and that nevertheless attracts the attention. This insignificant and unpredictable moment influence Mariano Angelotti’s work. The artist tries to capture the light, the colors, the plants and other details part of these particular moments. Like their subject, these paintings mysteriously capture the gaze that searches in vain for the reason of this sudden attention. Mariano Angelotti’s paintings invite the viewer to linger on the fleeting beauty filling the daily life. The unexpected, the details reserve many surprises

Mariano Angelotti pays attention to the composition. Each painting are meticulously constructed. The vegetal and architectural structures dialogue through a subtle play of perspective where the relationship to space is fundamental. The artist offers a vision of the world next to the classical landscape aesthetics. He draws attention to the banality of our daily life revealing here and there a surprising beauty.


In your paintings, nature and urbanity coexist, one seeming to enhance the other and vice versa. What place do nature and the city hold in your concerns? Is one more important than the other?

I’ve been interested in the landscape for a long time, as a space where we live in. I am a city dweller. There is as much asphalt, road sign, artificial light, as nature in my paintings. This is my vision of the world. I paint what I see and what I cross. I also paint forests with acrobranching path or lakes with buoys. These are always places exploited by man who cannot help but consume the natural space for his leisure. I look for other subjects than the aesthetic cliché in which we can easily fall, like a sunset or a sea view. I paint these ephemeral and meaningless moments that we live by chance when we see a beautiful light that gives beauty to an insignificant place. . There is a form of humility in these subjects.

The human face is almost never present in your paintings or barely recognizable as a silhouette. Why?

I’ve always been interested in the human absence in my painting. The human face brings a form of psychology and a relationship to history that do not interest me. At this time I prefer to suggest a relationship to space. The human presence is the viewer of the works. I like to represent a kind of solitude, the spectator of the work finds himself alone in front of the world, facing the reality. There is also a relation to the ephemeral side of life compared to the idea of sustainability of a tree or a building.


Discover his works


The subjects you paint, do they exist? Do you paint from photos, memories,… ?

This is a very important question. I work from photography, always having my cell phone in my pocket allowing me to capture these ephemeral moments. But this method raises a lot of questions about the image. I try not to stick too much to the photograph when I paint. The photo remains a working document. Nevertheless, it is a real question in my painting practice. I would like to work from nature as I used to. Pictures have this capacity to freeze a moment, creating a filter between the painter and the reality.

What are your sources of inspiration?

David Hockney when I was young. Stanley Spencer too, an English artist who painted from nature quite classical subjects but in very innovative compositions inspired by Giotto or Fra Angelico. The way it’s painted and the way the space is represented is a real source of inspiration. I also like the Pre-Raphaelites. Like Pierro Della Francesca, especially in his relationship to space. I like a figurative painting creating a spiritual relationship to the world, not a painting that is too cynical.


How did you approach the project for Avenue du Roi ? What do you propose?

For several paintings, I worked on the fences. I work in different layers: abstract composition for the background and work of form for the front During all this time, the figurative appears gradually but very slowly. There is a whole moment of making towards figuration. The fence tells this story. Then there is a painting representing a fairground with three people next to a green space made of fake grass. This artificial place was located in a very beautiful space. There was this confrontation between this artificial world and the nature itself. I liked this contrast. There is also a series of three still lifes, two of succulents and one of sunflowers in a vase. These are strange still lifes with a lot space around. he idea was to play with a recurring subject in the history of art but to develop a personal interest in it. There is also a self-portrait playing on sharpness and blur. In this case, they are meticulously laid out. It speaks of the gravity of the falling colour.

Photographe : Miles Fischler & Laurie Mélotte

Text : Thibaut Wauthion