COMMITMENTS
In all my work, the body is omnipresent.It is either represented or at work. The body is a magnificent, incredible tool, with multiple potentials.
and often untapped, even neglected.
The body is my cathedral.
The paintings
Abstract - Vegetal - Fishes - Reservoirs
Series
Abstracts, Plants, Fishes and Reservoirs
I paint with water. In all directions. I work on the ground.
There is no up or down, right or left during work.
Meaning is defined when the canvas is finished, a verticality is essential.
I paint, for the moment, in acrylic on linen canvas,
on rather large frames.
I like the large format for what it brings to immersion
to the painter and to the viewer.
I like this technique which mixes with water, washes with water.
I play with water. Unless it's her who is playing me.
I mix my pigments very empirically.
This gives me, according to my mixtures,
colors with multiple consistency.
I let the water flow as it pleases.
She deposits the pigment according to her moods,
his whims,the time she has to do it.
She decides.
I often work with Bleu Outremer,
ivory black and titanium white.
Other colors too, especially green,
the Greensor some warm colors.
Cadmium orange, parrot green, cobalt turquoise blue…
Current topics are not exhaustive.
Walking
It's an imperative
This work on walking and walkers was born from a need to write,
through my vocabulary, therefore graphic, by purifying the alphabet
to the most radical, to the most refined, down to a line and a point.
A sort of very framed, almost frozen automatic writing,
recalling the strictly minimal language of computing
"0" and "1",stick and dot, this writing
opened up new horizons for me. I had very quickly
the strange feeling of trying to put words on distant memories, from very early childhood, from a period
where I felt that I did not yet know how to speak, barely stammered.
Put yourself in a writing situation, with ink, on a blank page, and let come, not words, but distant sensations of words that leave me speechless.
Very quickly, characters appeared.
I played with these characters, for pages and pages.
Fine Art print on watercolor paper,
50 copies, signed.
Size : 30 x 60 cm
original sketches,
ink on watercolor paper, signed.
Format: close to A4
Play !
Another imperative
Very fast sketch work, in the same line as the dense-dance. First body work after years of sketching
of a living model. Do you want to see something else.
I started in this magnificent and exceptional
Cabaret Vauban in Brest, thanks to Charles Muzy, who became a friend.
All music appeals to me. The stage of a jazz club, an interceltic festival, a rock stage or an electronic music festival,
traditional music...
As in dance, dazzling gaze and intention,
noted in a quick gesture that requires a very good
knowledgefrom the body,anatomy, proportions.
Then let yourself be carried away by the music.
It is really an improvisation of the drawing,
as we speak of improvisation in music.
I would also like to work during classical concerts.
I never tried. If you know an orchestra
who would be interested, thank's for Contact me.
To be immersed in the orchestra, to note the gesture of a violin,
a double bass… Being able to settle in well to work
also the color, I would love it!
Music for a while. Tribute toHenry Purcell whom I deeply love.
Dance, Dense
Always a must
It is an extremely fast sketch job, of a few seconds. A kind of flash of the gaze on a gesture, a balance,a fall.
A dancer who moves, draws an emotion, a space
with his body. Trying to note this flash, as if my eye
was a photographic lens.
So get to the point very quickly.
Dazzling gaze, dazzling gesture of drawing.
In a flash, find the line felt, the one that touched me.
Sketches drawn during contemporary dance rehearsals,
because, when the dancers are on stage, the theaters cannot accommodate me, me and my ink, my brushes, my water,
some stains that would really stain the beautiful red armchairs in the room…
I dream of a day, an evening, where I could draw live,like during concerts, in the energy of the show and not in its repetition. Find yourself in the density/dance and charge the line with even more emotion.
Sketches made in Indian ink or brown ink on watercolor paper,
Format: close to A4,
Unique copy, signed.
"one-shot"
Literal translation in English : a shot
I resume my logic of the calligraphic sigil style,
the arrow, developed on the "Grave" page. All the following drawings were made in seconds, with one shot.
I always try to work the drawing in the affirmation
of a sensation. It took me a few years
working on proportions, shapes, etc.
For the sketches, I like the flexible, lively, fluid line.
Here are some very different themes,
with some paint sketches as well.
Maybe I should see that James Nunn movie…?
Severe
My parietal art
In engraving, I always think of the seal style of calligraphy.
The arrow that cuts the stone or the turtle shell.
One of the first writings.
I like this ancient gesture which affirms its immutable presence with force.
I like that deep acid attack that bites the plate,
digs its furrow, chooses a rail, to better accommodate
deep black ink.
I didn't really work on the grayscale engraving.
Mine are simply in line, with sometimes a few watercolor highlights. There are forms of architecture, port, vegetation,
of the cosmos....
I would like to develop this discipline. I have a few ideas to dig into.
