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.


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.
L'Orange et l'Infini
Orange and Infinit- 60x92 cm, 1977
Private collection France

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. 

Force vitale
Vital Force 65x92 cm, 1981
Private collection


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.


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.

Two Figures on the Beach
Two Figures on the Beach 65x100 cm, 1963
Private collection

Nude in a Life
Nude in a Life 60x92 cm, 1962
Particular collection USA

Le petit port à la plaque
Le petit port à la plaque 60x92 cm, 1965
Particular collection USA

L'Adolescent et l'Enfant
Adolescent and Child 100x81 cm, 1963
Private collection France

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.


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'.
L'Aboutissement des lois
The Outcome of Laws, 81x116 cm, 1980-1983
Particular collection USA


Vibration Essentielle
Essential Vibration ( The Experience, Final Phase )
97x130, 1982
Private collection USA

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

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
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" SGDL 04.03.1991 
Sacha Bourmeyster : "Yatridès and his century" , "Yatridès the painter of invisible reality" , "Yatridès anti-Picasso"SGDL24.03.1994, "Interstellars Icons" SGDL 31.03.1994, "Yatridès and the Bible" SGDL 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