Depuis les années 1960, Pat Andrea explore les possibles d’une peinture vraie et personnelle. C’est dans la vie intime en effet que l’artiste puise ses sujets : sa « guerre des sexes », ses amours, ses déchirures. Mais à travers un réalisme subjectif qui filtre, qui déforme, qui se distancie et joue souvent, par l’humour, la carte de la dérision. Un réalisme qui dépasse l’anecdote ou l’illustration naïve pour révéler poésie et beauté dans la trivialité. Mêlant petite et grande histoire, mémoires autobiographiques et résurgences de mythes ou d’événements politiques, Pat Andrea ouvre l’intime à l’archétypal. Ses images touchent et ne s’oublient pas parce qu’elles ont affaire avec un fonds ancien, commun à tous. Entre désir, peur et violence, elles s’ouvrent sous nos yeux comme un petit théâtre des comportements humains, dans ce qu’il a de séduisant, intriguant, ridicule. Tout comme la vie de l’artiste s’est construite sur le voyage, de la Hollande à Paris ou Buenos Aires, son œuvre va librement de territoires en territoires, des maîtres anciens à la modernité, de la peinture hollandaise à l’art international. Cohabite dans ses images en effet, l’empreinte d’une culture plurielle : le métier des maîtres du Quattrocento et leur sens classique de l’espace, la composition calme et silencieuse des petits intérieurs hollandais mais aussi le déséquilibre, le bruit, le mouvement et la démesure baroques, la géométrie décorative de Mondrian ou les couleurs vives et acides du Pop Art. De cette hybridation, née une œuvre double qui se donne à la fois comme réaliste et irréelle, naviguant entre pulsionnel et réfléchi.
Since the 1960s, Pat Andrea has been exploring the possibilities of a painting that is genuine and personal. It is in fact in his intimate life that the artist seeks for inspiration: his “war of the sexes”, his loves and tears. But through a subjective realism that filters, deforms and distanciates itself and often plays with humor, the derision card. A realism that surpasses the anecdote or the naive illustration to reveal poetry and beauty in triviality. Combining small and great history, autobiographical memoirs and resurgence of myths or political events, Pat Andrea opens the intimate to the archetypal. His images touch the viewer and are remembered as they deal with a history that is common to all. Between desire, fear and violence, they open to our eyes like a small theater of human behaviors, in their most seducing, intriguing and ridiculous ways. Just as the artist's life was built on travel, from Holland to Paris or Buenos Aires, his work freely navigates from territory to territory, from the old masters to modernity, from Dutch painting to international art. His images are imprinted with coexisting plural cultures: the craft of the masters of the Quattrocento and their classical sense of space, the calm and silent composition of small Dutch interiors, but also the imbalance, noise, movement and excess of the Baroque period, the decorative geometry of Mondrian or the vivid and acid colors of Pop Art. From this hybridization, a double work is born which is both realistic and unreal, navigating between the impulsive and the reflective.
Since the 1960s, Pat Andrea has been exploring the possibilities of a painting that is genuine and personal. It is in fact in his intimate life that the artist seeks for inspiration: his “war of the sexes”, his loves and tears. But through a subjective realism that filters, deforms and distanciates itself and often plays with humor, the derision card. A realism that surpasses the anecdote or the naive illustration to reveal poetry and beauty in triviality. Combining small and great history, autobiographical memoirs and resurgence of myths or political events, Pat Andrea opens the intimate to the archetypal. His images touch the viewer and are remembered as they deal with a history that is common to all. Between desire, fear and violence, they open to our eyes like a small theater of human behaviors, in their most seducing, intriguing and ridiculous ways. Just as the artist's life was built on travel, from Holland to Paris or Buenos Aires, his work freely navigates from territory to territory, from the old masters to modernity, from Dutch painting to international art. His images are imprinted with coexisting plural cultures: the craft of the masters of the Quattrocento and their classical sense of space, the calm and silent composition of small Dutch interiors, but also the imbalance, noise, movement and excess of the Baroque period, the decorative geometry of Mondrian or the vivid and acid colors of Pop Art. From this hybridization, a double work is born which is both realistic and unreal, navigating between the impulsive and the reflective.