Posted On: February 1st 2026, 05:33 pm
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đ«đ· DatĂ©e de 1990, cette aquarelle originale de CRASH (John Matos) illustre parfaitement lâĂ©volution de son travail dâatelier au dĂ©but des annĂ©es 90, une pĂ©riode oĂč lâartiste transpose sur papier et sur toile lâĂ©nergie hĂ©ritĂ©e du mĂ©tro new-yorkais. Le portrait de profil, aux allures de Dick Tracy, renvoie Ă lâimaginaire des comics amĂ©ricains quâil cite frĂ©quemment dans ses Ćuvres. Ă cela sâajoutent les lettres âGâ et âRâ, amorce dâun mot; probablement âgraffitiâ; reprĂ©sentant un clin dâĆil Ă ses racines. La lĂ©gĂšretĂ© de lâaquarelle, la vivacitĂ© des couleurs et ce mĂ©lange entre portrait stylisĂ© et fragments de lettrage crĂ©ent une piĂšce Ă la fois lisible, dynamique et trĂšs reprĂ©sentative du vocabulaire visuel de CRASH.
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đŹđ§ Dated 1990, this original watercolor by CRASH (John Matos) perfectly reflects the evolution of his studio practice in the early 1990s, a moment when the artist began translating the energy of the New York subway onto paper and canvas. The profile portrait, reminiscent of Dick Tracy, draws on the world of American comics that frequently appears in his work. The letters âGâ and âR,â the beginning of a word, likely âgraffitiâ, offer a subtle nod to his roots as a Bronx writer. The lightness of the watercolor medium, the vibrancy of the colors, and the interplay between stylized portrait and lettering fragments create a composition that is readable, dynamic, and highly representative of CRASHâs visual vocabulary.
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