Pool with Toulouse

Concept

The work of Santoni Patrick is a constant interaction between his life and the evolution of Western human society, he poses his findings through the image. His visuals are both simple and complex, the composition is both reinforced and deconstructed by the addition of graphic elements in the foreground disrupting the vision of the work, like photography, the blur and the sharpness define the intermediate planes.

In his work rich in diversity Santoni Patrick uses conceptual methods from architecture, a rigorous organization and an ordered plastic, which he applies to the composition of his images. He draws on images from all media and also relies on a powerful visual heritage bequeathed by his Corsican origins, the stories of exile, uprooting, abandonment, ruins, the invading scrub, the dust of summer.

Santoni Patrick has often described himself as a "somewhat dilettante observer of an incoherent world". His beginnings show the influence of Street Art, of La Figuration Libre, which he dared to associate with press drawings, the whole being linked by the techniques of classical painters, glazing, sfumato, chiaroscuro. In the early 2000s, his "Women Plug and Play" series inaugurated a pictorial form inspired by Pop Art expressed as posters with provocative slogans. It was not until 2010 that he returned to landscape and architecture, the formative elements of his early work.
Despite the variety of his work, he has developed a unique signature, strongly recognizable and unmistakably his own.

His works today are mostly landscapes where architecture is present, the presence-absence of humans is the common thread in his works. Drawn from television imagery, photography or Google Maps, his images reflect the noisy silence full of uncertainty of our time. The artist manipulates and transforms some of his paintings into digital prints on paper in limited editions.

Santoni makes a research work, a kind of inventory of our human society with his particular vision. His work: questioning his contemporaries on our paradoxes, our choices for the future ... by submitting images of the past marked by human presence, images most often related to childhood, hopes born in childhood and disillusionment of adulthood.