conversation W/ Arthur Cruz
Maciek : There is some ambiguous romantism approach in your landscapes, you always depict nature in a very idyllic way but as if it has been injured by human being, how important are those ‘bruises’ for you ?
Arthur : What really matters to me is the way a natural environment finds itself sculpted by human hand in a suburban landscape. You could probably see a whole lot of metaphors here, but deep down I am really interested in the feeling of emptiness or loneliness that comes out when nature and urbanism clash. Those landscapes may seem familiar to you but they still make you feel uneasy as you watch them; in that aspect I think you can say that my paintings are romantic.
FOOT
Acrylic on Canvas
81 x 65 cm
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I remember you used to do a lot of graffiti younger, and I feel those damaged landscapes and the idea of graffiti are quite linked. What is your position on vandalism ?
I think that they are indeed linked for two reasons. First of all, the suburban zone makes an ideal playground for a graffiti artist. There are many waste grounds, abandoned buildings, transport systems. There is a truly a lot to keep yourself busy.
Then, I find that the two very much look alike. Graffiti, thanks to its repetitive aesthetics and anonymous format actually fits the suburban landscape and you could be in Le Havre or Montpellier you will always get the same ring roads, the same detached houses and the same tags. Conformism really rules there.
This is why I find it hard to enjoy graffiti for another reason that its actual presence. (Taking into account the risks taken, the egocentrism and anti-social act that comes out of it.) I don’t really see the point of the ‘art’ side of graffiti, it being featured in galleries or even murals for that matter.
PIZZA
Acrylic on Canvas
81x65 cm
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I feel like the lack of chaos and the way nature is repressed in those suburbs make the landscapes even more bleak and depressing. Do you really see them as depressing ?
I definitely agree with you, my paintings are depressing and it is actually my primary goal. My main subject is clearly not really sexy and the places I depict are anonymous, cold, monotonous or empty.
Nature is repressed. It’s not really hostile but still you feel lonely or slightly queasy. The technique I use also emphasizes this: black, white, contrasts and a rigorous execution.
The most ‘fun’ you could find in these places is probably the irony of the situation …
NOVOTEL
Acrylic on canvas
81 x 65 cm
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How do you pick a subject, do you walk a lot around those places ? Is the promenade something important for you ?
I pick my subjects randomly through walks. I love walking and getting list. I choose a place to explore then I go there and literally see what’s on offer. It is a very opportunist way to proceed that is also linked to luck. I guess this activity is also an old habit I’ve kept from graffiti because you always have to find new spots to exploit.
I don’t really like shopping centres or white-picket fences type of areas; on the other hand, I get really attracted by abandoned grounds where it’s generally not safe to go, despite being close to residential zones.
2CHEMINS
Acrylic on Canvas
81 x 65 cm
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You seem to paint after photography, why ? Have you ever tried after motif, sitting there for hours, Would the result be different ?
The use of photography gives me a certain distance to my subject but also better comfort throughout the production. I take many pictures then I choose one, edit it if necessary and finally I reproduce it on the canvas.
I try to stay as neutral as possible and bring in as little as personal touches as possible; photography helps me to get this result. I do this a bit in the way of the hyperrealists.
If I was to paint on location the final work would be much different, and the proceedings way too long. I also guess that it wouldn’t be as precise and detailed.
MONDIAL MOQUETTE
Acrylic on Canvas
81 x 65 cm
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Those landscapes instanely reminded me of The three trees etching by Rembrandt, is there any other painter, poet, writer that you would name as an inspiration for those landscapes ?
My inspiration sources actually come more from film directors such as Tarkovsky, Wenders or Rohmer, to only cite the most important ones. The way that they picture lonely wanderings or emptiness has influenced me a lot.
When it comes to painting, artists coming from abstract expressionism or minimalism have touched me much more than romantics or hyperrealists. Saying that, I also really like Caravaggio, Ingres, Jericho or Estes.
MUR NOIR
Acrylic on Canvas
81 x 65 cm
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