MICROSCOPIES
oil on canvas
The observation of contexts - within repetitive structures such as landscapes, flowerbeds, lawns, piles of pebbles, the wings of butterflies,
seashells as well as pure colours - provoke in me sensations of ecstasy.
These feelings are, however, fleeting. It is, in trying to re-capture and solidify these transitionary moods, that
my work is based. In order to do so, I have invented a pictorial method to describe language:- Either accentuating or obscuring light and effect, or by increasing or decreasing tone.
Painting is a medium that has the capacity to translate and transmit these sensations - to develop sensual gestures. I proceed by themes; each theme is a story within time - determined by the number of paintings. It is also a colour and a format as well as a formal grammar.
The formal grammar that groups these themes together include recurring elements such as points, spheres, surfaces and sinuous and wave-like lines. Elements are either isolated or combined and can be deeply focused or highly blurred. Combinations get organized by juxtaposition, superimposing, transparency, chaos and dispersal.
The changes of scale modify the viewer’s perception by paying an attention on details, underlined by a treatment through accentuating light.
I use mostly oils because its properties - the grease, the transparency, the brilliancy, the plasticity - are close to those of the Human Body (skin, sebum, moods). It is a medium par excellence for reflecting back what is alive - the mass of the material, drying times, the changing tones of colour, the chemistry of each constituent. We see, through our study of
works of art, our own physical forms.
MICROSCOPIES
black and white
oil on canvas
