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My-Place.jpg

Santoni Patrick, Buzz lightyear's way, 2017.
Acrylic on canvas 70 x 50 cm (27 ½ x 20 inches).
©ADAGP, Paris, 2024.

My-Place.jpg

Santoni Patrick, Tree-house without trees, 2017.
Acrylic on canvas 70 x 50 cm (27 ½ x 20 inches).
©ADAGP, Paris, 2024.

My-Place.jpg

Santoni Patrick, Lost in Paradise, simplification 001, 2018.
Acrylic on canvas 70 x 70 cm (27 ½ x 27 ½ inches).
©ADAGP, Paris, 2024.

My-Place.jpg

Santoni Patrick, Lost in Paradise, évolution 003, 2017.
Acrylic on canvas 50 x 50 cm (20 x 20 inches).
©ADAGP, Paris, 2024.

My-Place.jpg

Santoni Patrick, Lost in paradise, evolution 002, 2017.

Acrylic on canvas 50 x 50 cm (20 x 20 inches)
©ADAGP, Paris, 2024.

My-Place.jpg

Santoni Patrick, Pool with hope in future, 2022.
Digital print on paper fine art, limited edition of 8 copies 90 x 60 cm (2022).
©ADAGP, Paris, 2024.

My-Place.jpg

Santoni Patrick, Pool with Yellow Ball, 2022.

Acrylic on canvas 100 x 73 cm (40 x 28 ¾ inches)
©ADAGP, Paris, 2024.

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Santoni Patrick, Pool with woman, 2022.
NFT digital file of 4843 x 3071 pixels.
©ADAGP, Paris, 2024.

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Santoni Patrick, Pool with End, 2022.

Acrylic on canvas 100 x 81 cm (40 x 32 inches)
©ADAGP, Paris, 2024.

My-Place.jpg

Santoni Patrick, Mandarine camouflée, 2018.
Acrylic on canvas 100 x 81 cm (40 x 31 ½ inches)
©ADAGP, Paris, 2024.

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Santoni Patrick, L'heure des grands fauves, 2018.

Acrylic on canvas 100 x 81 cm (40 x 31 ½ inches)
©ADAGP, Paris, 2024.

My-Place.jpg

Santoni Patrick, What is great again? 2018.

Acrylic on canvas 70 x 50 cm (27 ½ x 20 inches)
©ADAGP, Paris, 2024.

God spoils his grandchildren

Santoni Patrick, God spoils his grandchildren 2021.

Acrylic on canvas 60 x 60 cm (23 ⅔ x 23 ⅔ inches)
©ADAGP, Paris, 2024.

My-Place.jpg

Santoni Patrick, My Place, 2017.
Acrylic on canvas 50 x 50 cm (20 x 20 inches).
©ADAGP, Paris, 2024.

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barre haut biographie

Using the most "usual" codes of representation to question what is at work in the world, what makes it substantial: this is where my practice lies.

The juxtaposition of sharp and blurred lines, the concatenation of planes, the organisation of metonymic elements blurs the logic of perception. The frontier between real and reality becomes literal and brings into existence a universe on the border of uchronia, where hope collides with an atonic world, ordered by the discipline of aesthetics and from which meaning and reality escape.

Then comes the time to open a breach, to destroy this excess by adding graphic contributions or impasto. The result is the writing of an image where the absurd flirts with tenderness, catching and disturbing the visual comfort of the spectator, opening him in turn to the possibility of questioning.

 


 

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