Joël Mbaïd

Joël Mbaïd belongs to the great generation of artists who have the audacity and power necessary to inscribe the renewal of the arts in a form of originality. His work is stretched between painting and sculpture. He expands the territory of his creations by pursuing a close correspondence between sculpture and painting. Joël Mbaïd constructs with small touches in the manner of a mosaic a vast fresco that unfolds in a well-thought-out and characteristic aesthetic entity.

Joël Mbaïd's plural work carves new passages. With the surges, he ignores the concordance of times. There is in his work a compulsion of materials, of image reading, in a development of impregnation, of contamination. Early on, he began a fruitful relationship with this conception. It is not surprising that the artist drew one of his axes of creation from it. He made of it the very most fertile essence of his artistic research. The diversity of techniques and the meeting of disciplines project the power of the echo of his work in which we discover multiple facets.

Joël Mbaïd continues to invent an aesthetic inherent in force and thickness. In an internal coherence, he works to reinterpret the viewpoints of painting and sculpture with an adventure in experimentation. He proposes a new way of inhabiting the arts, far from the anorexic traditions and translations of our modernity.

He could be considered a lexicographer, a stylist of forms, colors, and materials. Joël Mbaïd's artistic thought constantly flows. And to better admire his surges, it is imperative to follow the distant voices, the rhizomes of his thought that listen to and mark the deep breaths of his understanding of the world.

And he works to find the original force of art, an art that knows how to summon the disjunctive accents and nuances.