Oswald Matro
For Oswald Matro, the act of painting is a dream log of sorts through which the artist
deciphers his own reflections on contemporary West African societies. A tale weaved by the threads of history, traditions and the identity Inherent to his native Benin.
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Oddly abstract, yet figurative, the canvases by Oswald Matro are in fact gateways to uncharted plains of creative expression, within which the artist's visions materialise through myriads of effulgences, so vivid, textured and captivating, they almost instantly provoke an intoxicating sensory overload inside the viewer's mind.
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Referencing traditional iconographic painting, Matro's compositions balance colour and perspective with great fluidity, by a way of a technique that shatters all expectations regarding this medium and elevate the act of creation to a holistic paradigm.
Thus each canvas becomes stage to a whirling display of visual effects, heightened by a brilliant use of both synthetic and organic components. Acrylic, oil pastel, spray paint, siphoned sand and plaster, are layered in, using a brush, a palette knife or simply fingers, before being scraped off, as if to emphasise the hidden meaning of the work and reinforce its presence within a three-dimensional space.
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Deceptively naive yet whimsical, the paintings by Oswald Matro often cross pollinate both Christian and Animist spiritual ideologies. By way of a uniquely idiosyncratic visual narrative, the artist brings into play varying viewpoints scoping human interrelationships and familial conflicts within both social and geopolitical contexts. In fine, for Matro, Art is a means to rise above the existential conundrums of our lives by opening new portals of dialogues between the past and the future, between the realms of the seen and that of the unseen, toiling incessantly at the intersection of dream and reality.
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Yorùba
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