If I take stock of the journey I have been following until now, the feeling that emerges more and more clearly is one of a red thread linking the whole of my work.
The subjects to which I am drawn take shape little by little, in an intuitive way, in whatever way the circumstances dictate, during strolls, walks and travels… They are like “snapshots” I have taken with a camera. But distorted pictures, transformed, defied by time, by displacement, by their reflection or mirror-image. They emit an ambiguity which fascinates me through these different perspectives. The landscape verges on the anecdote, the principle subject becomes secondary, stories are superimposed.
When I begin to paint, I am unable to detach myself from a deep-rooted desire to delve more deeply into my work to create blurring through clarity of line, to see the large picture through the smallest. So it is through this long exhalation of work that my canvases take shape, where the obvious subject is only revealed at the last brushstroke.
The subjects to which I am drawn take shape little by little, in an intuitive way, in whatever way the circumstances dictate, during strolls, walks and travels… They are like “snapshots” I have taken with a camera. But distorted pictures, transformed, defied by time, by displacement, by their reflection or mirror-image. They emit an ambiguity which fascinates me through these different perspectives. The landscape verges on the anecdote, the principle subject becomes secondary, stories are superimposed.
When I begin to paint, I am unable to detach myself from a deep-rooted desire to delve more deeply into my work to create blurring through clarity of line, to see the large picture through the smallest. So it is through this long exhalation of work that my canvases take shape, where the obvious subject is only revealed at the last brushstroke.