TO GO FURTHER..
Above all, the Color. Then the strength of the line
For me, painting the essential Art. In the philosophical sense of the term.
Essential because primal. A visual cry through which the unconscious passes, the purest expression of what we are as individuals.
Essential as it is first. Preceding other artistic forms, it is the very first expression of a creative thought. If it brings us back to our origins, it also invites us to come back to the origins of humanity. To paint is to rediscover the ancestral creative gesture.
To paint is to leave your mark.
It is also about finding yourself in it. To return to the origins, to the beginnings, to the first sensations, to the first thoughts, to bring out the forgotten.
I Was born in Marseille and spent most of my teaching career there. As a Child, I drew before expressing myself. Draw before even speaking or writing. However, as the years passed, I opted for literature and made it my profession.
As I grew older, I went back, as an autodidact, to my first passion. I was finally able to express myself freely.
My work is semi-figurative. Everyone will therefore see in my paintings what they will put there. A painting will tell me a story, certainly, but it will only be truly complete with the public's sensitivity. My creations are a bit like Rorschach images: interpreting the spots, the shapes, mentally creating somewhere else to immerse yourself in and complement it with your personal contributions. This is what I propose to the viewer. This is what I do when starting from a colored line, I slowly build my vision.
Each painting comes from an inner journey, I never know in advance where it will take me. Painting allows me to let go, to mediate.
At the start, there’s music. Looped, serial, favourable to introspection. Gradually, the sound becomes color, then shape and finally image. Marine, port, lake...always aquatic image. Whether I like it or not, I always paint the sea, my sea, this real or dreamed Mediterranean, this transparency where shapes, volumes, colors, and reflections merge.
Having started my artistic journey around thirty years ago, my style has, of course, evolved.
My first paintings, dating from the 90s, provide a great place to color; it is she who builds volumes and perspectives using strong contrasts between complementary tones. The shapes are also born thanks to the processed material, alternating between thin layers and impasto, reshaped with a knife.
In the 2000s, I treated volumes in a more geometric way, replacing traditional painting knives, with coating knives allowing me to mark the color of increasingly long lines. Thus, perspectives and depths become more inscribed in the material. Finally comes the scraping technique.
Currently, I am interested in the spaces of canvas left blank during the passage of the knife, which, against all expectations, draw shapes and volumes. Thus, an absence can reveal a presence, the invisible turning into visible.
