Arcima Gallery presents

GUY CODA

From Monday, May 2nd to Sunday,May 22, 2011.

The creative path of Guy Coda is made of contrasts, meetings and passions. His painting testifies, because it is a stirring painting of reactive clichés, stereotypes and emblematic figures of our society. He shows the family structure with works entitled « Grandpa », « Granny » , the « Fiancée », and also the « Big Chief ». If using a cliché reveals an inability to create a new shape that blends into the discourse of another, Guy Coda underlines the futility of doing without, with an ironic tone. He establishes a cultural bond with the observer by arousing an exhilarating and provocative view.

The practice of stereotyping does not imply the awareness of stereotyping, which proves that social life creates images, opinions and collective beliefs. The awareness of stereotyping appears as a critique upon «simplistic and often harmful nature of collective patterns» according to Ruth Amossi.

A piece entitled « Google » is a nod to the new communication tools, but as a mockery - like this man sticking his tongue out to the spectator - thrown towards the usual practice which leads to a levelling of our relation to the world and largely our knowledge.

With a sharp spirit, Guy Coda provocates and plays on words in a subtle way. On the canvas, the written is legible and sometimes becomes scribbling: a simple figure of an inaudible thought. For example « Occident of the road », presenting a black woman barely dressed with tracing paper as a cloth. Her face seems to be a aesthetic remodelling, some kind of physical compliance. Thanks to collage, she is saddled with a pair a vintage glasses associated with a white man’s smiling mouth.

This woman speaks the language of the white men, known as the language of capitalism, underlined by the inscription on the canvas: « Coca Cola is good for you », pointed by her wristband of the soda brand. The richness of capitalism is opposed to a sort of enslavement. The intention is intensified by the technique itself, which consist in the meeting of two ways of expression: the paint and the collage. The collage shows itself to be favourable to turn the conventional order upside down, because it is a way to interrupt the linearity of the pictorial space. The energy of the touch which express itself through large brushstrokes, and become more supple in detail, is opposed to the object manufactured by consumerist society. Collage is essentially a foreign element, certainly reclaimed, causing irregularities such as a disruptive agent of pictorial representation.

Guy Coda’s painting is also insolent in « Amen ». A clergyman wears only a black hair clip and enjoys a bloody heart with wine. The artist tackles Christian symbolism: the wine and Ostia respectively represent the blood and body of Christ. The artist places the symbol in a real scene and, so, the man of the Church literally devours the «Sacred Heart». A liturgical communion is substituted cannibalism, a certainly trivial ritual which refers to ancestral practices. The sharing of the sacred to the profane is shown by symbols and rituals, like the beginning of a prayer written on the painting as a reminder. We understand: there’s no fitting or suitable position in the paint of Guy Coda, which reveals a critical sensibility on what bonds society: leisure, ideology , consumption, religion ...