VISUAL ARTIST

He choreographs materials and uses the dynamics of gestures and the body to imprint,
engrave and freeze movement.

His canvases and installations are punctuated by the free amplitude of movements, whether halted or measured, in curves or lines. Reliefs, thicknesses, superimpositions and ruptures suspend time. Martin works in series, and it is in the Blue series, a colour he creates himself, that some of his most emblematic works have taken shape.

Other multiple processes, such as photography and oil, matter and mechanics, matter and bronze, aluminum and gold, are all facets of his insatiable curiosity in exploring the unknown, both human and spatial. His work, infused with a decorative art he cherishes and practices in artistic direction for sets, harbours an ambivalent perspective oscillating between aesthetics and revealing the urgency of considering our welcoming space, both earth and being, as paramount.

What are your sources of inspiration?

My inspiration is primarily driven by a profound curiosity about everyday life, both in terms of the human experience, the body and its delights as well as the environment with all its natural fragility.

“My work explores our ephemerality, that of our society, in the face of nature. Nature will reclaim its rights over us because it has every reason to exist. Even when severely bruised, it will resist and restart on a blank canvas.”

How did you meet Collection Latil?

It was Anne-Sophie who invited me to dinner, in an extraordinary workshop, in line with her vision and sensitivity. After that, it was a bit like in the song “Le Tourbillon” by Jeanne Moreau; we observed each other, separated, reunited, and never parted ways.

Photos – ©Max Teste, ©Martin Berger, ©Stephan Julliard, ©Bruno Moyen.