在辨别克里斯多夫·迪马特(Christophe Demaitre)的艺术倾向上,人们总是会陷入两难境地。迪马特有两方面的矛盾:一方面,他以近乎流浪的方式生活,拍摄的影像却集中表现都市体验以及都市中人性的疏离;另一方面,他以过程为导向,突破了形式的界限,摈弃了创作混沌中的预先审议。他对于物质和适应性的关注以一种新达达主义精神贯穿于其全部作品,并通过纪实、抒情而诗意的摄影方式将观者带入到巧妙的角色分配和情境之中。艺术家漫步于任一城市的街头或无名的街道,随机捕捉镜头。他将画布以乳胶为底,并在创作的最后即兴地使用多层的涂料,以感光材料使得其拍摄的个体变得模糊不清。 People often find themselves in a dilemma when it comes to identifying the artistic tendencies of Christophe Demaitre. There are two contradictions in his work: on the one hand, he lives in an almost vagrant way, and the images he focuses on show the urban experience and the alienation of humanity in the city; on the other hand, he takes the process as the orientation and breaks through the boundaries of form, Discard the pre-deliberation in the creative chaos. His attention to matter and adaptability runs through all his works in a neo-Dada spirit and takes the viewer into clever distribution of roles and situations through documentary, lyrical and poetic photography. Artists stroll the streets of any city or the nameless street, randomly capture the camera. He laces the canvas with latex and uses multiple layers of paint at the end of the creative moment to blur the individual photographed with the light-sensitive material.