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French born in 1963, I was first an engineer before making painting a dominant activity alongside a teaching activity. Carried away in my beginnings by the Impressionists then Kandinsky or Estève, having become more sensitive to Mondrian and Poliakoff, interested in Bridget Riley and Aurélie Nemours, for nearly 20 years I have devoted most of my research to abstraction, geometric for the essential.

My compositions are most often about being precise, sometimes playing with chance, risking a break or an imbalance before finding a balance. This goes with the generous use of colors which in itself fascinates me. I compose as an architect would insert a building in the neighborhood of a city. The parts of a painting dialogue, seek to get along with each other and to marry the personality of the whole. Moreover, in many cases, I like to play on a kind of waltz-hesitation between the plane and the space.

Apollinaire about Mondrian spoke of “sensitive cerebrality”. This formula could apply to my work. However, far from adhering to an art that is too conceptual, austere and disembodied, I rather propose a path where an imaginary, an onirism of abstract forms enters the scene, in formal interiorized, constructed and balanced landscapes.

Delacroix declared shortly before his death: “the first merit of a painting is to be a feast for the eye. So it matters to me that whoever looks at my creations can find some of the following ingredients there: pleasure, optical imagination, sensitivity and, why not, spirituality. In other words, for a painting to be felt as much as thought.

 

 

Atzori before Atzori - “Brushes versus metro-work-sleep”

Painting entered my life early with my first artistic feelings as a child. The wick stopped for a long time, before reigniting the fire much later.

1960s - The day the elementary school photographer asked me to grab a paintbrush, choose a color and add a touch to the smudge that my young classmates had undertaken, said photographer, satisfied, took a simple year shot school, without knowing that it offered me my first aesthetic emotion. I was dazzled by the spectacle of colors and seized with intense joy.

1970s - A little older, I entered a Gothic cathedral for the first time. Here again I was captivated by the symphony of colors and the "divine" light of the large stained glass windows. Even today, when my way passes by a city endowed with such a building, I enter and I look...

Later came the drawing class of Jean-Pierre Chavatte, my teacher at the Lycée Carnot in Paris. Great pedagogue, he knew how to maintain my flame, introduced me to the realization of futuristic compositions which associated paintings and collages. However, my passion remained that of an autodidact when, following my strong taste for science, I finally chose a classical training as an engineer. I practiced this profession for 12 years.

At the turn of the 21st century I left a fairly comfortable and suitable life as a computer scientist to go to other horizons and above all to relive my passion for painting. But to live again is not to live. With my brushes and my madness, I entered into resistance against the metro-work-sleep and put myself in some danger. No regrets today on this turn.

 

JC ATZORI - Paris, January 2020

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Artist presented by the Art and Miss Gallery