These SLABS are not UFO's or messages sent by extraterrestrials concerned with the future of humanity, neither do they belong to the paraphernalia of science-fiction mentioned earlier. These SLABS are celestial creatures - ANGELS. Let us not be shy of words, since they clearly belong to the divine.

Yatridès (Detail)
Two Figures on the Beach, 65x100 cm
Private collection France

(See "integral reproduction"")

With its dimensions, sometimes colossal, the Slab takes the form of the earth.

YATRIDES does not reject the term Angels that I have just employed, provided the following precisions are added:

"Contrary to conventional representation, it is not the ANGEL who comes down to address the human creature in the name of the Almighty, to make known His Will. Here the roles are reversed. It is man who calls on the Angel. He wants to be granted access to the Laws of Knowledge. Exiled within a space (his Third abode, let us not forget!) whose landmarks and signs have all been erased, he aspires to a knowledge of which he has only an intuition, thanks to his seeing the SLAB, this hidden reality visible only to he who would see".

A Knowledge revealed rather acquired, for what use is acquired knowledge without the corresponding know-how. It is this very know-how that is conferred by the Knowledge inscribed in the SLAB. Not a banal know-how inspired by some theory of behaviourism, nor a mere moral guide laying claim to knowledge of good and evil, for to look upon the hidden face of the SLAB is to look upon the world in all its Truth, to introduce the presence of Man into this Contemplation.

The promotion of the fantastic would not be far removed from all these assertions should one fail to remember that the third abode is not an outer reality of which one can arbitrarily dispose as one feels fit, the painter no less than he who looks upon his works.

Neither does the Angel manifest himself through the supernatural dimension in Christianity to which we had become accustomed. The recent films of Wim WENDERS, "The Wings of Desire" (Der Himmel uber Berlin, 1987) and So Far, So Near! (In weiter Ferne, so nach! 1993) have made the presence in Berlin (before and after reunification!) of guardian angels inspired by the Golden Angel, whose imposing figure overlooks the Tiergarten, a familiar sight. These compassionate angels watch the humans and on occasion envy them to the point of wanting to share their mortal destiny.

YATRIDES '  SLABS, since the first ones at the fifties '  end, make no sentimental concession to he who at all cost would reduce the supernatural to the natural, the human to the too human. The strict definition of their edges gives them a scientific appearance. Aesthetics and ethics combine in their horizontal, vertical or profiled shape.

The respect inspired by the works, as much as the respect felt towards he who contemplates them, demands that we do not go beyond these preliminary acknowledgements. Let each one of us, in all conscience, as the saying goes, embark on the next stages of this discovery. YATRIDES himself will guard against speaking of it further.

Let us however conclude with these comments. THE SLABS, "THESE INTERSTELLAR ICONS", will progressively take responsibility for objects whose religious symbolism is evident: "The Biblical Bread", "The New Scrolls". They will become bearers of the Crucified One, or of man himself, in search of Truth. Gradually they will become less evident in YATRIDES ' paintings.

In his last works of the eighties, the helpless creature, whose gaze vainly follows the passing of the slab, has been replaced by an observer looking forward to an ineluctable Event. He stares intensely at the fearsome cloud sculpted from an indefinable substance and sees being born, or even, giving birth(?) an incandescent ball that seems to stem from Nothingness, from original Intelligence, a sphere already shining through "the vision" of his figures in the construction of their "seeing eye".

or return to


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. 

Extracts from following documents and works :
Official Authorities : "Administrative biography" 

Arthur Conte : "Yatridès master of time" SGDL 04.03.1991 
Sacha Bourmeyster : "Yatridès and his century" , "Yatridès the painter of the invisible reality" ,
"Yatridès, l'anti-Picasso" SGDL 24.03.1994, "The Interstellars Icons" SGDL 31.03.1994, 
"Yatridès and the Bible" SGDL 30.10.96
Monographic catalogues 1954-1993 : Exhibitions and Retrospectives YATRIDES
Monographic catalogues : "International Biennials art festivals" Canada-France from 1987 to 1993 
(Great Master guest of honour -Grand Maître invité d'honneur)
Events, Schools of painting 1900-1959, 1910-1960, 1910-1965 : USA Events achievment held with works,
of which Yatridès ' paintings, lent by US important prominent Private Collections of the United States
(See in this website "His work" and in "His life" : "Bibliography")
Films, Videos, University theses : 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 in "His work" :