Clément Mancini’s body of work consists a profound study in abstraction, spontaneity, and spatial tension. At first glance, his colourful paintings reflect an evocative sense of duality; his skilful gestural spontaneity beautifully coexists with calculated moderation. Through his distinctive approach to form, shape, and color, Mancini invites viewers to engage to experience the soft power that is remarkably unfolded on his canvases. His body of work cannot be merely considered just a visual experience but also a creative exploration of abstraction’s ability to reveal memories, various emotions, and strong engagement with an artistic outcome.
Mancini’s imagery and technique both project a fascination with gesture and materiality. His manifold strokes in his paintings feel immediate and instinctive, yet there is a deliberation in how they interact. His method involves a physicality that complements its conceptual depth, encouraging the viewers’ senses for additional meanings. Elongated lines of paint, angular forms and areas of smudging or erasure showcase some gestures that manage to become a kind of personal vocabulary for Mancini. The painter seems to work intuitively, allowing his mediums to guide him while retaining a strong sense of compositional structure.
Ultimately, Mancini’s paintings go beyond their physical presence, acting as mirrors for introspection. They offer no definite narratives, yet their evocative power resonates deeply, making viewers to pause and reflect. Mancini’s work stands as a demonstration to abstraction’s enduring relevance in contemporary art, reminding us that even in the absence of recognizable forms, there is a profound potential for a meaningful connection and a creative interplay.
words: Yannis Kostarias
One of Mancini’s remarkable characteristics is the use of space. He often deals with the surface of his canvases with sharp divisions, commencing an interaction between some densely layered areas of expressive arrangements and generous expanses of negative space. There is a resourceful communication between fullness and emptiness that continuously captures a stimulating sense of tension, as if the painter seeks to balance chaotic arrangements and serene lines within the same visual frame. These divisions also suggest a fragmentation of silence and joy, subtly encouraging viewers to demonstrate his/her own interpretations regarding the paintings’ ambiguity.
The color palette signifies an additionally important attribute in Mancini’s imagery. Working largely with muted earthly tones—soft browns, creams, greys, the painter establishes a palette that is both calming and introspective. For instance, in works Bloom 3, 2 or some other untitled artworks some colours, such as brown, blue or grey, usually dominate his composition creating a sort of statement on his canvases. Overall, this colourful dominance incites a deliberate feeling, drawing attention to the most vital moments within his compositions as well as bringing up some more subtly refined forms and shapes of his work. Furthermore, Mancini’s colour decisions embrace the artist’s fragmentation of space further underlining his minimalist ethos and qualities. His imagery often appears divided, with powerful gestural applications juxtaposed against significant blank areas on the canvas. This negative space operates as an opportunity for narrative possibilities, where the variety of forms suggests both fragmentation and connection managing to develop an artistic lexicon that enfolds both intuitive and emotional attributes in the same framework.
Can you tell us about the process of making your work?
I work in a very spontaneous, instinctive way. For example, It’s difficult for me to start from an existing sketch before creating a painting, as I feel that doing so would make me lose spontaneity and sincerity in my work.
It’s a somewhat double-edged process—it can also be challenging at times not to know where I’m going before starting a new painting.
How would you define your work in a few words (ideally in 3 words)?
Spontaneous, gestural, balanced.
Your work seems to hold the message of gesture, rooted from the idea of graffiti. How has the development of focusing on the gesture/physical movement throughout the process affected your overall compositions over time?
The role of gesture in my practice is closely tied to Instinctiveness. These are ideas that are, of course, found in graffiti, which I explored when I was younger. This still influences me to some extent, even though my work itself is no longer connected to graffiti.
Regarding your materials, do you tend to experiment with materials like acrylics, plaster, rust, or even photo transfers? What drives your choice of materials, and how do they contribute to the narrative or emotional depth of your pieces?
I’m someone who needs to explore and can get bored quite quickly, which is why I’ve often changed materials and practices. I’ve created many different kinds of works, experimenting with a variety of techniques, the common point between all these techniques was still the pursuit of spontaneity. Now I’m trying to focus on painting and stick to it.
Could we describe your current style of painting as spontaneous? How do you channel spontaneity into coherence and balance in your works?
Yes, of course, spontaneity is the foundation of my work. My painting process can, in a way, be compared to that of a sculptor. I usually begin by tracing lines that form the structure of the painting and then add material and texture. This is how I try to find balance and coherence in my compositions.
Are there new themes, techniques, or collaborations you’re considering to take this practice even deeper? How might these influence the direction of your work?
For now, I’d like to continue exploring painting itself. I paint with acrylic because I need the material to dry quickly. However, I wouldn’t rule out exploring other techniques, such as oil painting, in the near or distant future.
It really feels as if your work reuses specific patterns and abstract gestures through different pieces. To what extent do the recurring motifs you use relate to personal memory, a larger conceptual framework, or intuitive exploration?
In these recent paintings, it’s clear that I’ve been exploring a rather “floral” theme, even if some compositions can still be considered quite abstract. This theme has recently helped me structure my paintings at a time when I felt a bit stuck in abstraction. I’ll see how it evolves.
Your work often sets organic, gestural forms against stark, empty spaces. Can you talk about the interplay between abstraction and narrative? Is this guiding viewers toward a specific story, or is ambiguity a part of the intentional experience?
Indeed, I really enjoy playing with empty and filled spaces in my compositions, even if this is less apparent in my more recent works. For me, empty spaces are as important as those where the painting “comes alive.” They need to respond to each other harmoniously to create an overall sense of balance.
What about the place where you work? What does your studio space look like?
I’ve been in a new studio in northern Paris for a few months now, but unfortunately, the building will be demolished in a few months, so I need to make the most of it while I can.
This is part of the reality of being an artist in Paris—finding a permanent workspace is almost impossible for many of us, though I hope to one day have that luxury.
Which are your plans for the near future?
I’d like to develop my work around this floral theme and see where it leads me. Of course, I’d also love to create art projects and show my work in solo or group exhibitions—it would be amazing.
All images courtesy of the artist