Exhibiting Patrick Mimran

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Because we respect, consider, and know our artists. We want to use the most efficient and respectful way to promote their work. Therefore, we are advertising and selling only what we consider to be the best work of art of each artist we represent.

It is often difficult for an artist to discuss his art. This is why, most of the time, an artist chooses a specific media outside writing to express herself/himself/themselves.

It is challenging to classify the art of Patrick Mimran as it is as wide as it is unique.
So, let’s try first to find out what Patrick Mimran art is not.

First, let’s consider that Abstraction is the process of taking away or removing characteristics from something so as to reduce it to an essential set of  characteristics (https://www.techtarget.com/whatis/definition/abstraction). Then, the pictural work of Patrick Mimran cannot be considered as abstract.

It cannot be as well considered as conceptual in the sense of a theoretical construct within some theory.

For Patrick Mimran, it is equivalent to impose on his imagination and creativity a method or a predefined instruction manual, the purpose of which, would be to create a wireframe, a corset from which no imagination or personal aesthetic consideration would find its place.

The artist considers both action as a reduction of his creative process, and as a limitation of the available media an artist might use to fully express himself.

Moreover, they do not correspond at all to the definition that he thinks is best suited to characterize his work.
To understand the work of Patrick Mimran one must apprehended it the other way around.

By using shapes and colors, tensions and balance between uncombined objects and assemblages, the artist is suggesting some possible paths whose meaning is proposed to the viewer.

By diving into the painting to reveal its inner quality, it is up to him, to reveal its signification.
The total freedom that the artist grants himself is now passed to the viewer.

If both the artist’s intention and the viewer’s interpretation match, then be it, and if not, a coalescence of mind and perception might be for later. If this synchronicity never happens, never mind, the work of art remains forever, and exists in a duality of perpetual dyadic perceptions.

For more about   Patrick Mimran