According to the philosopher Schopenhauer, every form of human expression is inferior to music, as the composer is least likely to interfere between truth and the mirror on which it reflects (the artist’s work). He did not live long enough to be acquainted with the work of the « great masters » of the 20th century… The paint finally takes over, only to be intermittently modeled by the painter, who works under constraints that are anchored in his original intention. Just like in a musical composition, there is a construction of a pure perception that limits the scope of egocentric manipulation, while the artist has to deal with the accidents of the real world and the possibilities of her tools. [Whether truth is accessible in general to the artist is another matter].
In my work, I construct and destroy to reconstruct, until the composition, more or less satisfactory (it is so doomed from its inception, i.e. its genetic code), has evidently arrived at a close. This is not to be mistaken: as defined as the artist’s intention might be, the final work will include randomness – a randomness, however, tamed and exploited by the artist. At the core of the work there is a transposition from the image « felt » to the image constructed in the outside world, and it is the correspondence between the two that gives the discipline to the construction. In that sense, my work is as if made up of Lego pieces that are disassembled and reassembled periodically until their construction = original intention + time elapsed in its elaboration.
The material plays a pivotal role in my work. I usually work in large format to create a kind of « surround » environment of paint. Obviously, a painting is inseparable from its matter. There are two factors, in particular, that are crucial to me about painting as medium. Paint allows, even demands, for risk-taking in the process of making the work itself, not only in its conception. Importantly, through its matter and only as a result of it, it can create a unique, multi-faceted, more sensorial and less intellectual experience on the viewer, in a way which no other medium can emulate. Through an attack on the retina, it enters the domaine of the non-verb.