This piece is a continuation of the Xanthopsia collection, where perception, altered by the dominant yellow, becomes a metaphor for digital transformation and artistic reinterpretation. By revisiting Van Gogh's portrait of Père Tanguy, "The Man Painting" fuses historical pictorial materiality with contemporary digital languages, while expanding the philosophical questioning of the paint merchant as a mediator between the artist and the world.

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I. ARTISTIC AND TECHNICAL CONCEPTUALIZATION

Hybrid Medium and Creative Process:

- Physical Pictorial Performance: Creation of a gestural acrylic painting on canvas, inspired by Van Gogh's vibrant and expressive style, but transposed into a subrealist abstraction. The gesture is no longer descriptive but becomes an autonomous language, a bodily trace.

- Frame-by-frame photography: Each stage of the performance is captured photographically, transforming the process into a decomposed temporal sequence—a tribute to the origins of cinema and retinal persistence.

- Digital animation and digital painting: The photographs are animated in a minimal sequence, then digitally reworked through successive layers. Glitch elements, RGB overlays, and intentional white pixels blur the line between the manual and the algorithmic.

Father Tanguy as an allegory of the mediator:

- A historical figure, Tanguy was not only a merchant; he was a conduit, a facilitator of visions. Here, he himself becomes a work in motion—a “man-painting”—symbolizing the permeability between art, commerce, and culture.

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II. PHILOSOPHICAL DIMENSION: MEDIATION, COLOR, AND DIGITAL

Father Tanguy as the archetype of the merchant-mediator:

- He embodies the transition between art as a unique object and art as circulation. In "The Painting Man," this idea is taken to its climax: he is no longer simply a pigment seller, but becomes pigment itself—both material and light.

- His gaze, in the animated work, seems at times fixed and at times moving, questioning the notion of presence and attention in a world saturated with screens.

Hybridity and digital subculture:

- The work is rooted in an aesthetic of remixing, of visual sampling, where the expressionist gesture is captured, plotted, and glitched. It speaks a language understood by digital cultures that practice diversion and reuse as a form of recreation. - Animating frame by frame also evokes the artisanal work of frame-by-frame in independent animation or the artistic GIF—a form of resistance to algorithmic immediacy.

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III. PHILOSOPHICAL SYNTHESIS

"THE MAN PAINTING" is not a simple reinterpretation: it is a digital incarnation of Father Tanguy's symbolic function. It questions:

- Mediation as a creative act: between artist and audience, between pigment and pixel, between yesterday and today.

- Color as a substance that is both material and immaterial—sold by Tanguy, transcended by Van Gogh, reworked by digital technology.

- The layer (tracing paper) as the fundamental structure of contemporary perception—whether pictorial, photographic, or digital. Ultimately, this work continues the dialogue I maintain with Van Gogh: not as a nostalgic homage, but as a springboard to question how digital technology extends painting rather than replaces it. It affirms that art is a constantly changing ecosystem—of which Father Tanguy would be one of the first symbiosis.

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"THE MAN PAINTING" is thus a celebration of those who make color possible—yesterday by selling it, today by pixelating it—and an invitation to perceive, behind each screen, the persistence of the gesture.

THE MAN PAINTING: XANTHOPSIA 163:

Tribute to Van Gogh : « Portrait of Père Tanguy »

Original in Rodin Museum

 #treeskulltown digital art version :

2160 x 3840 px / 4K MP4 / 511 Mo / 15 fps / 1/1 édition on @teia