Although his attraction to art began at an early age, it was during his adolescence and through graffiti that Clément Mancini established a real first contact with painting. He immediately liked the freedom to paint on different supports and especially on large scales. It was for him an excellent way to experiment this medium, it also taught him the basics of what a pictorial composition is : finding a balance between shapes and colors. Tag and graffiti also made him fully aware of the impact of the movement of the body on a traced line and the vibration it brings to a work. All these elements will lay the foundations of what will become his work in the future.

 

Clément Mancini will develop his appeal for murals in parallel of his studies in Graphic Arts, which mostly served him to enrich his visual and artistic culture. More and more attracted by this practice, he will start a collaboration with a friend with whom they will create frescoes for various events during several years. After the separation of the duo, the artist will develop a more personal approach to painting, progressively leaving graffiti behind and focusing exclusively on painting on canvas.

 

This period of experimentation related to graffiti is still very important to the artist. It will have enabled him to educate his gaze regarding the observation of his environment and the vibration of the materials that surround him : from a rusty door, a torn poster or a trace of a tag that has just been covered by the city cleaners. All of his observed plastic data (sometimes photographed) are elements that feed his daily work.

 

The artist considers his works as fragments of materials and constantly seeks to experiment with matter and its vibration. He began several series of works by integrating different mediums such as plaster, rust, or photographic transfer. Transmit or claim any specific messages isn’t the artist main goal. The painting, abstract, is only intended to make people feel different emotions when they look at it. For the artist, it is important that a painting can be free of interpretation and not necessarily a claimant. The work must be a breath, a moment of suspension without messages or information that are already very present in our daily life.

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Painting must take its time, in a world where everything goes faster and faster.