The slabs begin to appear in Georges Yatridès' paintings from the late fifties, at a time when his inspiration turns away from the black thematic which dominated his work during his American period.
SCREEN-SLABS
- A blank screen, neutral in colour as a constant, a foil for an object, a living being or a person, which provides a balance for the different elements of the whole composition.
- The screen as part of a dwelling place without door or window, yet accessible to figures who are apparently coming to take possession of a space reclaimed by the painter on their behalf.
Orange and Infinity- 60x92 cm
Private collection France
1977
- The screen as a working surface, vertical, sometimes horizontal or diagonal in space, on which signs of long-forgotten human activities are inscribed, but which have meaning in Yatridès' pictorial language: matter, transparencies, structures, all contrasting with a terrain, tabula rasa, the bitter fruit of an exhaustive exploitation of natural resources.
Vital Force, 65x92 cm
Private collection
1981MONUMENT-SLABS
- Blind facades of colossal buildings, and mute as well, for their meaning still eludes those passing near them. Walls steeped in a brightness that criss-crosses pictorial content and unveils the configuration of structures that can be implicitly recognised.
U.F.O. SLABS
- The setting free of Yatridès interstellar slabs dates back to 1960. As custodian of Knowledge, the slab henceforth confronts the questionings of man. Yatridès has relinquished his position as a voyeur on the outside, a nigh-typical attitude in non-representational painting. lie has now moved inside his own canvas.
- This decisive step henceforth enables the painter to use the slab in various ways: intersecting slabs, slabs as supporting structures, slabs as receivers and transmitters. Their cosmic nature, beyond representational perspectives, testifies to the fact that they are extraneous to Yatridès' strictly pictorial space.
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Two Figures on the Beach, 65x100 cm |
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Nude in a Life, 60x92 cm |
Le petit port à la plaque, 60x92 cm |
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Adolescent and Child, 100x81 cm |
In Kubrick's - Clarke's famous "2001: a space Odyssee" (1968), Yatrides's Slab monolith was the argument, driving force of the movie. We found again the Slab in Peter Hyams' and Clarke's "2010: Odyssee Two" (1985). With Spielberg's and Kubrick's "A.I" Artificial Intelligence (2001- anniversary, "birthday" of "2001: a space Odyssee"!), appear Yatrides's Slabs towards the end : they compose, without to be in contact, the cube-like space-craft which carries the translucent electronic humanoïds. The free Slabs collected together to form this cube-shaped space-craft, break up and move away to liberate the humanoïds who discovered and met David, Spielberg's Hero.
Yatrides's Slabs, star argument of "2001 and 2010 : space Odyssees", becomes in "A.I. Artificial Intelligence" an object endowed with "cooperative autonomy". Anyway, with these three movies, even the first and third have traces of genius, they don't reach the capabilities of the metaphysical dimensions of YATRIDES's Slabs, as he gave to them from 1957. Nevertheless, one is forced to the conclusion that Yatrides's work shows and demonstrates the quality and weakness of Kubrick's sources.
While his slabs were used from 1968, already Yatrides had but one ambition : to apply his theory he demonstrated in 1972 at C.E.N.G. (Grenoble Centre of Atomic Studies) concerning a new property of time and his influence in various fields including that of light, like the one stemming from certain incandescent phases of different solid bodies. Paul Perroud immediately recognized the scientific value of his discoveries and enabled Yatridès to obtain patents delivered by the Washington D.C. Patent office (1974). (Paul Perroud, eminent specialist, Doctor of Knowledge at Berkeley, Director of the Offices for Special Application of Physics at the C.E.N.G. (Grenoble Centre of Atomic Studies).
As Yatrides said : "In a way, to go farther, find the sublime Mathematician, Physics Master, the one that men name God". To apply on a plane some properties of this authentic new light.
FROM SLAB TO SPHERE
- The painter, from evoking the inaccessible: the slab, goes on to invoke the accessible : the sphere.
In the work 'Essential Vibration' (the experience final phase), standing in monumental pose, the man, through his own willpower, immobilizes the ascent of a lunar globe, that the painter would have wanted to fix in a transient equilibrium. This work is followed by the gigantic 'The Implementation of the Laws'.
(Detail)
The Outcome of Laws, 81x116 cm
Particular collection USA
1980-1983
(Detail)
Essential Vibration ( The Experience, Final Phase ), 97x130
Private collection USA
1982
Has Yatridès stopped painting for the last few years because of the surprise he doubtless feels at the strangeness of this vision? We await the reply that he should be able to bring in answer to our expectations, with a feeling in which ardour and anxiety are combined
[ Main page ] [ His work ] [ His life ] [ Index of repertories ]
Anticipation of the YATRIDES' slabs-monoliths from 1957, driving force and argument
of "2001 : a space odyssée" (1968). YATRIDES' indeniable paternity appears
in many of his works: some of them are exhibited on Yatridès-Kubrick.
Englsh translation by Penelope Hamilton Extracts from following documents and works :
Official Authorities : "Administrative 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 and 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.
YATRIDES ' work has fascinated film-makers, movie-directors, semiologists, among the best of our time.
See in this website "His life" : "Entourage" in which appear "Jean DELANNOY", "Marcel CARNE" famed movie Directors, film-Makers and "YATRIDES - KUBRICK".
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