"Approach: reasoning, intervention but also a way of walking, i.e. of going".
The driving force behind my creative process? Emotion, this "intense, sudden and passing disturbance of affectivity" according to the Hachette dictionary. That's what it's all about; the perception of something that embraces me, overturns me, leaves me silent. Dazzles me. There is no particular intention behind my research other than to get as close as possible to what is passing through me and that which is inscribed on the paper or the canvas.
From the moment I show what has been created, a double introspective look takes place: The first one is turned back towards me like a mirror, which reveals and multiplies me, in a destabilising and instructive way. The second glance is informed by what I let go of in the work, and that which will parade through other eyes, to initiate or nourish stories that do not belong to me.
Human, landscape, object, space, light... the essential thing, which I try to translate visually with forms, values, colours or materials, figurative or not, is the encounter that grabs me.
Certainly the majority of my drawings and paintings deal with the human and its carnal envelope, borrowing different registers and physical forms... I believe that this theme is a particular subject; I think that in a work dealing with the human (be it from a living model, a self-portrait, the imagination, or in any other way), there is, in fact, the immediate and very disturbing identification of the subject by the artist, and then by the viewer at a later time.
I use in turn drawing techniques (pencil, charcoal, ink), painting techniques (gouache, acrylic, oil), on primarily paper or canvas. Engraving techniques (mainly monotype, sometimes dry point or carborundum), come to enlighten drawings and paintings, opening up the possibilities, thanks to the serial characteristics of printmaking. There is no hierarchy between all these techniques, but rather a sense of relay and shared work.
As time goes by, my research becomes uncertain and moves, as if this approach into unknown territory takes precedence over the objective.
At present, something is emerging in my work that has taken a long time to take shape through various means, and which is gradually leaving its embryonic state; the setting up of cut-out drawings, suspended in the space of a room. I call them my "free figures".
The initial dazzle is always there, coupled with the pleasure of advancing into unknown territory.
One foot in front of the other on this path of creation, like Cairns, I thus raise fragile arguments likely to mark it out.