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Interview



After I was trained in ancient painting techniques as a copyist at the Louvre museum, I realized that it was time to grasp painting in another way and gloss over realistic representations and resemblance. My taste developed towards abstraction by moving me away from the sensible world. I was influenced by many artists, notably those who favor their sensations over aesthetic codes, in the sense of Cézanne’s remark “Paintings say nothing, but resonate.” Among my favorites are de Staël, Soulages, Rotko, Boudin, and others who didn’t care so much about setting trends but strove to find their own truth.

Kandinsky used to say that an artist’s “inner necessity” is the principle of art. I define myself as a “squat” artist willing to create something based on my own experience, irrespective of current trends, even if I know that an artist’s interaction with the world around is necessary and in part unconscious.

Overall my source of inspiration is a construction. I strive with forms, colors, and contrasts towards a sober, non-rigid equilibrium, where harmony is broken by a few dissonances. That equilibrium reflects a transformation of disorder into a pretended calm. My perception when I paint is a confrontation with or rather escape from reality, as if the helplessness of the material world could only be transcended in the quietness of heart. Eventually I feel imbued with a precarious peace, as my vision flows in autonomous, instinctive brush strokes, until the painting has earned its own freedom.

I frequented numerous ateliers, attended courses at the School of Decorative Arts in Paris and Kunstgewerbschule in Basel. Since then I pursued a personal path with an abstract style, working with a mixed technique of painting and collages. I have been helped in the process by supportive relationships, such as art collector Jacques Hachuel or painter Jacques Gati, who helped me build confidence through their orders or encouragements. I worked with contemporary art gallery DansLeCiel in Mougins and presented my work in several group exhibitions, notably the Salons d’Automne in France, in China and in Israel, Agora Gallery in New York and Salon des Artistes Français. Today I am represented by Collection Privée gallery in Paris. My work can also be viewed online at artprice and artstack.

My paintings sometimes give a glimpse of reality. Even if not done on purpose, I like when this connivance with the real appeals to the hearts and minds of viewers. My customers are often designers, liberal professions or impulse purchasers that hang a painting when it is pleasant to their eye. But there is more to it than meets the eye. My structural compositions are built on the interaction between the opacity of certain colors or various collage elements and the transparency of silk paper, used as an intangible shroud that blurs contours and increases depth. Invisible and present behind this veil, I try to convey a sense of balance, to think with forms, to match colors. My paintings suggest a variation of perspectives, far from the aesthetic of “jamais vu,” with which those who have faith in the fragile and partial sense of life can commune. The multiplicity of possible viewpoints offers itself to viewers as windows to open into ways of understanding despite the chaos as their imagination sees fit.

For long my works focused on abstract landscapes and large surfaces such as ice, walls or skies, resulting in a tonally uniform palette interrupted by rare flecks of bright colors and strokes of black paint. Then I started connecting the inner with the outer world through open windows, allowing viewers to walk through this space in their imagination. The arcane windows in the foreground stand out, neither far nor close, from the background that surrounds it. I sometimes work my way through this spatial coherence in triptychs. The dismantling of the contents into a central panel and two exterior wings allows me to bind tones and colors, without confusion, whereas each panel, viewed separately, shows the superficial, the folds of the real on the surface, all that lives at “skin level” in its proper light and manner.

References

Collection Privée gallery, Paris

Artistes Contemporains, Maison des Artistes

artprice, Standardized Marketplace

ArtStack, art online

Agora Gallery, New York, The French Perspective: Contemporary from France, July 2014

Jacques Hachuel, Advisory Board de la Fondation Guggenheim (New York), Royal Academy of Fine Arts (Spain)


Réalisation : Octavo