Geoffroy Pithon: Unveiling Geoffroy Pithon: A Journey through his Artistic World

Since MAAT Gallery's inception, Geoffroy Pithon has been a defining artist, evolving in parallel with the gallery’s own journey. At the heart of his work lies a seamless blend of painting and graphic design, driven by a relentless pursuit to craft unconventional forms of visual communication.

 

When I spoke with Geoffroy, I wanted to uncover more about the influences that shape his aesthetic and creative process. During our conversation, I asked him if he had a guiding quote, a personal mantra of sorts. I love asking this of people I’m just getting to know; their answers often reveal insights into their universe. His answer: “Il y a un autre monde mais il est dans celui-ci” (quote by Paul Eluard)  which translates into “there is another world but it is in this one.” I ask him why he loves it and he tells me that the image of an imaginary world coexisting with the actual world pushes the realms of possibilities, making everything seem possible. This sense of infinite potential is something I also see woven throughout his paintings. Each time I view a piece, I discover new worlds hidden within the larger one. Here too, endless possibilities unfold, and as viewers, we have the freedom to choose which ones to embrace. What I love about Geoffroy’s work is the sense of agency it gives me as a viewer—allowing me to control not only what I see but how I see it. It is up to us to recognize the countless worlds that exist within the greater whole.

 

This conversation offers a glimpse into Geoffroy Pithon’s inner world and creative process. His paintings are vivid, bold, charismatic, and striking—qualities that define his work. I hope this interview takes you on a journey that evokes these very sensations. On that note, I welcome you to Geoffroy’s world.

 

-Soraya.

S: “Could you quickly introduce yourself for me?”

 

GP: “I graduated from "Les Arts Décoratifs"  de Paris in 2012, I was exclusively a graphic designer for 8 years before I decided to start my artistic career in 2020.”

 

S: “When did you consider yourself an artist?”

 

GP: “I began to see myself as an artist once I started working independently in painting. My process is distinct in that I work across a variety of formats, scales, and disciplines, all centered on paper. It’s a multidisciplinary approach that weaves together painting, paper, and color, aiming to transcend traditional boundaries and engage with diverse areas of contemporary creativity.”

 

S: “Was there a precise moment that you decided to dedicate yourself to art?”

 

GP: “I was part of a graphic design collective called Formes Vives, which gave me the chance to explore a wide range of creative projects. When the collective ended around 2020, it opened up the opportunity for me to fully dedicate myself to art. I’m grateful to my former colleagues and friends from that time!”

 

S: “What was your first memory linked to art?”

 

GP: “My earliest artistic memory is tied to the music of my childhood—the songs my parents played, which weren’t exactly meant for children. Even then, I remember feeling moved by Bob Dylan’s music, sensing its depth before I could fully understand it. As I grew older, certain children’s books left a lasting impression on me as well. One in particular, Thomas Blue Eagle, a beautifully illustrated book portraying Native American life, captivated me. It’s a book I cherished then, and continues to inspire me today.”

 

S: “Talking about inspiration- who and what exactly inspires you?”

 

GP: “Inspiration has always been a complex topic for me, as I see it as a continuous flow of energy. Every day, I find inspiration in my surroundings—my objects, my books, my family, my friends, and the unique ways I can perceive and engage with the world. I am especially inspired by artists who defy boundaries, refusing to limit themselves to a single discipline. These are the true adventurers of art, who embrace freedom in their creative expression.

 

Take Oscar Schlemmer, for example, who seamlessly move between theater, design, and painting. Or Mariano Fortuny, a relatively unknown artist from the late 19th and early 20th century whose work I greatly admire. Miquel Barceló also stands out for his ability to merge ceramics and performance art.

 

When it comes to painting, Rose Wylie is a strong influence, as is Isabella Ducrot, a recent discovery. It’s difficult to name just a few because there are so many whose work speaks to me. English painting holds a special place for me, with artists like David Hockney embodying what I admire most in that tradition. In France, the early 20th-century Nabis movement, with figures like Pierre Bonnard, André Derain, and Paul Gauguin, fascinates me. I admire how they bridged fine and applied arts, giving their paintings a decorative potential—an ability to transcend the canvas and become part of everyday objects.

 

Each of these artists, in their own way, embodies the kind of fluidity and creative courage that deeply inspires me.

 

” S: “How did you find your creative process and artistic niche?”

 

GP: “I discovered my approach simply through practice. Working on paper felt natural—it connects to my background in graphic design, where paper has always been foundational. My earliest paintings were on paper, and it was through those first works that I truly learned to paint. My process is rooted in action and being fully present; I don’t begin with predetermined subjects or a detailed plan. For me, the perfect equation is action combined with presence.

S: “What has been the evolution of your creative process?”

 

GP: “My creative process evolves in response to my professional environment. Working with MAĀT Gallery, for instance, has allowed me to explore new questions around the types and scales of painting I create. I feel that my work is always in motion—how I approach it now is different from how I once did, and I know it will continue to change in the future.”

 

S: “In this case then, what has changed and what has stayed the same?”

 

GP: “The energy remains constant—I always bring enthusiasm and vitality to everything I do. What has changed is the continuous progression: I’m always refining my craft and evolving my artistic language.”

 

S: “What has the collaboration with Paul William and MAĀT Gallery brought to you and your career?”

 

GP: “It brought me a lot of things, it was the first collaboration with MAĀT Gallery. It gave me the opportunity to experience the gallery’s unique space and, of course, provided me with a platform to exhibit in Paris for the first time. This was significant, as it allowed me to present my paintings independently—an important milestone early in my painting career. I’m grateful that Paul reached out and was so determined to work with me, building a relationship grounded on mutual trust. He truly took the time to understand my approach and my work. What I admire most about Paul is his philosophy, which is rooted in freedom and a sense of ‘love at first sight’ when it comes to his artists.

S: “Do you have a special connection to one of your early works?”

 

GP: “I often find it difficult to draw a clear line between what constitutes artwork and what does not. Before focusing on the visual arts, I was deeply involved in music, and I believe that part of mestill resonates with that background. It has shaped the way I perceive the world, and remains an essential part of who I am, continuing to influence my creative process today.”

 

S: “What recent works are you most proud of then?”

 

GP: “I do not have a preference on a work of art that I have done but I do really love the works on paper from this past year. Ideally, however, I always strive for my most recent piece to be my best yet.”

S: “What feelings do you hope to evoke to your audience?”

 

GP: “I aim for my work to evoke an immediate sense of pleasure and joy. The idea of immediacy is crucial to me—much like when you order a dish at a restaurant, and the moment you take the first bite, you feel a wave of satisfaction. That instant reaction is what I hope to elicit with my art. I infuse my paintings with a kind of "vitamin," a burst of energy, and my goal is for that energy to resonate with the viewer, transforming into vitality and a renewed sense of life.”

 

S: “It sounds like exchange with people is central for you. Why is that?”

 

GP: “Connection with people is fundamental to me because art cannot exist without people and it is super important for me to be able to share my work.

GP: “‘Il y a un autre monde mais il est dans celui-ci’ is a sentence and idea that I love. I don’t remember where I got it from exactly or who said it but it has become my mantra. It's such an open-ended statement and everyone can interpret it in their own way. For me, it represents an infinite well of possibility, where magic and reality coexist. They aren’t separate realms but rather a way to highlight that magic exists within our reality, through limitless potential.”