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Born in Ivory Coast in 1979, Mederic Turay was only 4 years old when his parents moved to the USA, Washington D.C with a normal learning. In 1995, his family returned to live in Africa and their teenager enrolled in a school of fine arts.
His secret dream is to devote himself to art.
Mederic received many awards at various competitions of fine arts and elected the best young artist from West Africa in 1999.
Turay makes paintings, drawings and mixed media artworks with his unique style called “Trace” made of a bonding assembly of newspapers and magazines, coffee, acrylic and oil painting.
His artworks were quickly recognized by African and European critics who acknowledged a great value to this young artist. They confirm the growing talent of this artist with a bright future whose signature retains the attention of serious collectors. Turay is part of various international collections like Charles Saatchi – London, Ethan Cohen – New York , Pierre Bergé – Paris, Cécilia Sarkozy & Richard Attias Paris, Didier Drogba Foundation – Ivory Coast, Fondation Donwahi – Ivory Coast and many others in Europe…
These signs and symbol reminds us of the painter Basquiat and Picasso for his sense of cubism. His language is not seeking the narrative, it is composed of rhetorical metaphors where signs feed allusions to a better understanding of Africa and rest of the world.
By applying abstraction mixed with figurative style, Turay focuses on the idea of “words”, we seldom realize, for example that our most private thoughts and emotions are not actually our own. For we think in terms of languages and images which we did not invent, but which were given to us by our society. His paintings are often about contact with architecture lines, complex math numbers and crude characters that characterizes our society.
In a search for new methods to “read the city”, he creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles. His works sometimes doesn’t reference recognizable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted.
I need absolute sobriety, deprivation, to go to the elemental form, the parameters restricted to the essentials; with the building blocks of our African roots land, plants, and minerals.
My basic research on the signs in simplified forms as well as in the choice of materials, collected during trips, in chance encounters, polysemic signs tending towards a universal reading, writing graffiti registering as fixing the trace of the pass, any traces of humanity on cave walls or walls of cities. I believe, what’s inside reflects on the outside. That’s why I’m drawn to people’s faces.
My work is an attempt to capture the idiosyncrasies that make a nameless faceless person in the crowd as an individual. Though each of them have been inspired from real life, execution style is abstract. Paintings, assemblages, objects of various origins, each piece is part of a whole, elements of a game, that can come together, juxtaposed or combined in various staging’s. The traces also invites you to travel mentally to other places, other stories, in history.
I repeat my signs, words in my works, because I belong to the world and I am part of her breast. Yes I defeated time I managed to immortalized things most simple to complex.