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AHEAD OF BEYOND – without text
Jérémie Martino´s work

What does it take to transform an object into a subject? To answer this question it is of course necessary to have a raw understanding of the two words ‘object’ and ‘subject’. But secondly and more interesting for the moment is the more daring hypothesis that Jérémie Martino is able to perform this type of metamorphosis with his work!
A third point – which may be understood as a third layer of impossibility – before getting back to the explaining of the first and original one is the fact, that this transformation (of his paintings becoming the subject) will by logic only work if this text does not exist.

The first observation of Jérémie Martino´s work will without doubt be the strong motion of things or people in the images. Like an old record player the vinyl turns and turns, then we stop the record and watch the needle on the plastic without movement; but the music can still be heard. It remains in our heads. As things seem to be still moving in the paintings although it is a static image. In order to screenshot what is in and what is behind those paintings, we shall make all the exploding and falling move again:
CLEAR/STEADY
The very one who is capable of recognition and acknowledgement and on the other side is not recognized or disposed by anyone will be the subject. It is the condition of all appearance. The appearing then incorporates the object, according to Schopenhauer. For our case it would mean that the artist is not the subject any longer who creates his object, the painting. But the other way around. This may be the immaculate definition of all creating, which is to hand off anything unconditional and selflessly onto the art piece. Only then, when the master is moved by the painting in the utmost immediate reaction of his being : he may be able to transpose his very own soul onto the work. The work itself then is in control. It now will be capable to define space and time. Up to the point where the painting is powerful enough to embody its original purpose again: to possess authority and even opinion upon the beholder.

The creation itself turned from being the object into the subject :
BLURR/MOVEMENT
A somewhat overdriven thought? The true painter´s soul is a giving one, a leaking one, a splendid one. Only when he is free and pure of any pretensions, meanings or interpretations then this transformation may take place. Something that the person Jérémie Martino might be able to do. He is within this process. Unlike many others he may allow himself to be liberated from the self‐excitating and overtheorized life‐guarding necessities of incesting art industries. Only by the nature of his being.
We see the strained anatomy of bodies in weightlessness that are smoothly softened by the harmonic contrast of lively colours, or the over and over exercised meditation of capturing the nanosecond of an explosion whose realistic reproduction wants us to even step closer to the danger. The effect of almost unreal displaying motion in standstill and the fact of the paintings living up to these requirements of completeness will not be explained by any theory. It may be found only when the artwork is questioned truthfully and the paintings itself then are able to reflect back to the artist. At that point, he explains.

Static explosion, dynamic possibility to move on :
CLEANSED/STILL
Technically spoken? No complaints. It is the painting that would file doubt! On Jérémie Martino´s process there still might be two items claimed remaining on the path to autonomy: how far do the works incorporate any emotional or irrational aspect; all those characteristics that are mere human? And secondly who assumes responsibility in economical questions, the artist or the work? Two points that bring the work back to the artist, who will be refunded by whom in those essential functions! How much independence do they grant each other?
Fortunately this text on Jérémie Martino´s work does not exist. Why? He wouldn´t let any other means interfere with his pure understanding of painting. Maybe a text is also too slow, too static and unlike his work it has a beginning and an end to it. So, no text, no theories, no interpretation. Most important: no explanation. Just as for any other human being.

2011 Christoph Kolk