After many years of extreme rigour and intense discipline with the Compagnons, Mathias Kiss freed himself from the codes of traditional Haussmann architecture dictated by his forefathers, to resurface as a true artist. His own true hallmark today is a radical change in approach to habitat. Mathias Kiss produces ornamental or decorative work when collectors invite him to their homes, using their personal spaces as raw material for his work.
When he produces a rug for example, neither the colour nor the material are important; he extracts a shape, that he designs, between the cracks composing the herringbone parquet flooring. His vision was finely tuned through the rigour and the nobility of French architecture; he cannot refrain from distorting these codes that are etched on his heart, like a leitmotif.
When he talks about the “Kiss Room,” a truly monumental and habitable sculpture, fully lined with mirrors, he explains that this experimental room could well have been created at the time of Louis XIV, a sort of contemporary Hall of Mirrors, as the techniques he used are comparable to those used for ancient panelling. By creating painted skies today, it is no longer to restore the ceilings of the Louvre, but to materialize a compelling need for air.
By definitively leaving the Compagnons, Mathias Kiss almost impulsively rejected the presence of the right angle. In guise of a visual tantrum, he entitled his first series as an artist “Without 90°,” making a highly symbolic mockery of his old life. He reinvented coving when he created “Golden Snake,” as part of the series “90°”.
This artist automatically misappropriates the codes of our habitats.