All my pictorial production is based on a structure which servers me as an airstrip to
takeoff towards images which stimulate my imagination, my
instincts, and my sense of improvisation. The whole giving the impression
of revolving around a precise theme or without any apparent logical connection.
Colours, graphics, and forms are the pictorial vocabulary with which
I work. By superposition and juxtaposition of the colours, I create a
false impression of a third dimension, which has the effect of adding a space
dynamics to surfaces.
I try to obtain an effect of surprise and curiosity in order to stimulate
my direction of adventure during the creation process while leaving room
for instincts and improvisation. This is why my topics, apparent
or real, are the fruits of hazard. The integration of
elements created in the context of figurative forms which come from the imagination
are part of the process which triggers my creativity.
For me, all pictorial theories are only simple reflexions
which one makes on his production, because any creation is based on
experience, adventure, real life, and evolution. Therefore, that which
was an artistic step for a given period, is not necessarily applicable
to the present period or that to come. To describe a process, is already
to mobilize it, to asepticize it, to sterilize it, and to industrialize it, in short,
to kill it in the yolk. On to the unknown, to instincts, to improvisation
and to imagination.
PRESS KIT:
Irmela Dmytruk "Le TOUR" - April 2001
Sutton, Dunham, Frelighsburg, Quebec.
The symbolism of Mario Cardin is easy to understand. The artist includes
a legend of clip-art silhouettes with his paintings, constructed from
a playful mix-and-match system of graphic forms, making it easier for
us to decipher their meaning.
Mario Cardin's coded visual language helps the viewer to "get the
message". He express his concerns about life, moral, values, spirituality
and politics. The theme of the exhibit is thought-provoking. But not
moralizing, and communicates a vibrant and colorful joy in life. Several
of the artist's dynamic figurative paintings recall the surrealism of
Alfred Pellan or folk-art design.
A
series of small canvasses with such divergent titles as "La Foi" and
"Jazz dans la Nuit" uses the shape of the human head as a design element,
inviting us to enter into the head/world of Cardin's imagination.
