THE TABULA RASA (destruction of all the traditional signs and of all the points of reference used by men throughout the centuries in order to communicate by means of pictorial representation), TABULA RASA systematically used by avant-garde aesthetics, results in white or black squares signalling end games, or even in flows of matter that the artist deifies and scrutinizes in the vain hope of therein capturing infinity, or again, in more mundane fashion, which serve as decorative distractions.

Yatridès Egregore of the Future (81x65 cm), 1982 Particular collection

YATRIDES constructs his paintings on the acknowledgement of this tabula rasa ,convinced as he is that all attempts to look back, to re-establish the values of yesteryear would be futile and meaningless. He patiently sets about reclaiming a pictorial space progressively abandoned by this avant-garde fighting academic taboos, but which proved itself incapable of profiting from its struggle for freedom (See the Interstellar Icons).

For Georges YATRIDES, the scratchings, the squirts, the splashes. these excrements left behind by the abstract anchorites taken refuge in the desert of non-communication, have become the basic elements of a TERRA INCOGNITA , of a unknown world that he has patiently explored, let us repeat, through exclusively pictorial means.

Consequently, he has sublimated them, raised them to a level of interpretation that has allowed him to make them the materials with which to construct a new universe. A discovery made by Yatridès in the very process of creating it.
Rather than talking of an interior world, of transcendence, we prefer to call this universe the third abode of Man. The third, after the natural shelter common, in different forms, to all living creatures and after the house, this product of civilisation man has claimed for himself, and that he grants to the animals he has domesticated.

 

 

Traditional figurative painting was able to represent nature and society, the first and the second abodes of Man. It only knew how to evoke the third by means of metaphors and symbols, now obsolete. The post-figurative Schools of this century can be credited with having cleared a space which allows the revelation of what figurative painting has for too long concealed from us  :


The invisible reality,
the third abode of Man that YATRIDES finally reveals to us.
This "third abode" is the very universe of his painting.

Herein lies his absolute originality.

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Englsh translation by Penelope Hamilton
Mail: yatrides@wanadoo.fr (yatridès and his century)

Extracts from following documents and works :
Official French Authorities : Government administrative Yatrides' biography"

Arthur Conte : "Yatridès master of time" SGL 04.03.1991
Sacha Bourmeyster : "Yatridès and his century" , "Yatridès the painter of invisible reality" , "Yatridès anti-Picasso"SGL24.03.1994, "Interstellars Icons" SGL 31.03.1994, "Yatridès and the Bible" SGL 30.10.96
Samuel E. Johnson : Biographic notes (International Galleries USA)
Monographic catalogues, Yatridès 1954-1993 : Exhibitions (USA permanently, Latin America, Switzerland, Greece, Paris, Provincial France) and Rétrospectives
Monographic catalogues, Yatridès in International Art Festivals :"Great Master Guest of honour" ("International Biennials Canada-France 1987-1989"), "Main Master Guest of honour" ("International Biennials Canada 1988"), "Great Master Guest of Honour" ("International Biennials Vichy, Riom Mozac (Duke's cities), Quebec 1991-1993"), Grand Maître invité d'Honneur
Monographic catalogues, Yatridès : "Main Master guest of Honour" (France, specially Montmorency residential City)
Schools of Painting Events, USA : "Masters of Modern Art 1910-1960" (Special mention in "Watercolors, Gouaches, Pastels and Drawings from the Cubist, Post-Impressionist, Expressionist and Surrealist Schools 1910-1960"), "Drawings and Watercolors 1900-1959" (Art Event following this held by the American Ambassy in Paris (Musée de l'Orangerie, winter 1958-1959 : "From Clouet to Matisse" - Drawings in American Private Collections"), "Specialists in XXth Century Masters" (Special mention in "Collector's Choice").
University theses "The painter outside the tumult" (Sciences et Télécommunications Masters', MSTC Universities Grenoble III 1981), "Public Relations and communications techniques in the service of Painting -Yatridès" (Lehodey-Dissertation mémoire 402 pages, 1983 - School of Press Attachés, Founder and Managing director : Denis Huismans)
Films et videos : "Yatridès, paintings rails of sky" (Sacré-Coeur Montmartre Paris, Provideo S.A. 1981), "Yatridès the painter outside the tumult" ("René Char" Provideo S.A. 1983), " Yatridès' Art" (Version Originale S.A. 1985), "Germany, Poland, Russia" 1984.
Full-length films : Yatrides' work has fascinated film-makers, movie-directors, semiologists, among the best of our time :
Jean Delannoy and Marcel Carné famed french movie Directors, film-Makers. But given the state of his health and his circumstances, Yatridès will be unable to take a decision about their proposals. After 1968, Arthur c. Clarke and Stanley Kubrick will show in their full-length film the metaphysical amplitude of the monoliths Yatridès plates. Yatrides did not claim any intellectual property rights on the substance and form, arguments of this film that marked our time. See this site yatrides.com, in his "life": "entourage". In his "work": "Plates of Yatridès" and "the interstellar icons."
Yatrides -Kubrick : the interstellar Yatridès plates, substance and driving force of "2001: Space Odyssey". See "His work": "Yatridès-Kubrick".
Miles Millar : Present days : "Georges YATRIDES is the apotheosis of a Master in terms of artistry (...) His body of work is ethereal, not only aesthetically, but in his innate ability to harness the metaphysical aspect of our nature. He is an absolute in the incessant redefining and evolving anatomy of contemporary art and a gift to all of us. The power of this man's vision is everlasting (...) I was enraptured by the dexterity of his mind (...). Georges Yatrides' work is awe-inspiring and rightfully deserves the position it will take in our collective history, he is a true craftsman of the intangible" : Miles MILLAR, February 17, 2009

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