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For me, painting means becoming aware. There is always an important part of exhaustive reflection in my process. I like to think about themes for several weeks, from which my paintings will come to life. The discomfort of the blank canvas is often synonymous with discovery and new areas of expression. It is necessary to be able to break to rebuild, my approach is based on this concept.
Although my works are impregnated with shapes and colors, I constantly return to the circle, symbol of life, feminine symbol but also of the eternal beginning. The circle is often used as a support for an idea, a sensation, rather than as a real subject. I feed on images drawn from here and there, but I never reproduce them. My paintings are the pictorial expression of my paradoxes drawn from my unconscious, I intellectualize my process.
I start painting by inventing a disorganized and unified universe, where several parts of reality are reflected. In a will of simplification and synthesis, I translate, under various forms the paradoxes which live me. I look for depth and I avoid the fixed line.
Working on cameos of colors carried by a range, of oranges, of reds of blues, my palette carries me, beyond my subject, towards an imaginary. I cover my canvas with a very dense dominant color, then this undercoat is completely covered, the colors melt in a cameo. From there I can start to paint by adding or subtracting material. Scraping with the most diverse tools, I paint as much as with brushes. Each roughness, each scratch is a unique motif as much as it allows it to merge into a much more global and abstract dimension.
I am also interested in stained glass, jewelry and decoration. But it is in painting that I most appreciate the experience of beauty, the search for the pure sources of art, the primitive sensation. I cannot deny the fortuitous influence of Klein for his blues, but the artists who also influence my way of working are among others Manessier, Pollock, Mondrian, Picasso and Matisse.
Klein fascinates me, by the mystical force of his monochromes and the spreading of his blues which he made his primary vehicle. I have assimilated to some of my paintings the elongation of Klein's blues. From a church painting (stained glass) to canvases that have become politicized by the great violence of the world, Manessier inspires me for his contradictions and his duality. From Picasso, the revolutionary, I keep the notion of sign. In my painting the sign is often the circle. Matisse made this definition of a work of art: "A flat surface covered with colors in a certain order assembled". It is a principle that I keep in mind when I create the background of a canvas. I have a strong taste for saturated colors, textured flat areas and colored masses. Pollock, for his dripping and Mondrian for his representations that he calls neo-plastic, inspire me and this although there is no reference element in my paintings.
In all my paintings, I voluntarily modify the forms by following two immutable principles:
- the subjective deformation, born from the desire to juxtapose colors accentuates certain aspects of the represented subject,
- the objective deformation, which submits the representation to the necessary order of the painting.
Thus, the painting becomes a reality in itself whose autonomous organization is distinct from the subject from which I draw inspiration. I lengthen the proportions to give these forms the living force of their dimension.
I claim the importance of the imagination and the pleasure of discovery. Painting should not be a simple object of consumption and immediate pleasure, immediately consumed, immediately rejected... It deserves better. The spectator must make the effort to find, to create if need be, the path that leads him to the work, before experiencing the happiness of living with it.
I inscribe my practice in a tradition of research in contemporary painting, a fertile ground of experimentation where the emergence of new forms is always possible.
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