Artistic Approach



Research of Pictoral Harmony that lead me towards my artistic approach

My painting turned rapidly towards the emotional from the figurative, which it was at the beginning.
It started to be about feelings that suddenly surfaced in certain places, rather like the concentration of a child trimming a piece of wood…………… I went deep into my heart to find again that emotion, I linked it with the image and I began to paint.
Next, to liberate myself from that image, with it’s own contribution to the picture, I began to paint to music.
The music is free of the picture.
It is vibration, and through my sensitivity and my paintbrushes, it began to vibrate on the canvas.
If the decoding of the pieces of music allowed me, at the beginning of transcribing what I was listening to, the ‘letting-go’ proved an indisputable fact in making the harmony vibrate in the painting.
More and more I am trying to bring myself closer to a complete emotion, probably for it’s authenticity and genuineness and perhaps, because, when I reach it, I meet my inner self, my center.

The “Letting-Go” in the innocence of the movement

I have discovered spontaneous release on the canvas on a day of anger, and with it, the purity of expression. The emotion in it’s truth, like that of a child.
The feelings of a young child are manifest, exempt from social normes. He lives totally what he feels at the time and once he has expressed his anger, frustration or jealousy, he goes back to being exactly as he was before.
One speaks of the purity of the child. The quest for pictoral harmony lead me to lean towards this original purity of childhood.
During my childhood wanderings, then later, in the practise of Ikebana, I learnt and relearnt to observe nature carefully and studiously. All it’s levels, which seem at first confused, lead me to understand harmony.
Nature doesn’t lie, she is honest. Totally honest from an aesthetic point of view. She is not well ordered, she is real and true with all her emotional disorders.
The anger of the sea, the immensity of the mountains’ peak, the deep blue of a dragonflys’ wing, or endless foam, a magnificient abstraction, offers us a view of another world.
Thus, beauty for me, is found in truth, in the organic, the originality.

The Rejuvination

The child loses his innocence as he evolves in his social and cultural universe.
And painting does not depart from rules.
If I paint who I am, and if my painting appears to me to be heavy, charged by too many applications, it could well be that I am impregnated with the values of the society in which I live.
Also,  dysharmonies that occur sometimes in life, but that I keep to myself,  were reflected in my work and that led me to start a cleansing process of these old habits and beliefs that I carried with me.

The Mutation

In this way, it acts as a duo:  The desire to paint harmoniously led me to work on myself, and by doing this, my inner self was clarified and therefore purified my painting.
This purification produced collages of floating wood and pieces of CD’s, in the guise of contrast.
The material was projecting from the canvas, the paint posed on the surface and beyond.
Then, little by little, collages diminished, then disappeared.
The material on the surface plays with the depth of the glaze.
Ochres have given way to  saturated colours and this little tinted world converses today on the same canvas.
My preoccupation with  integration of form and substance, incorporates still today a trait, disturbing or not, but present none the less.
Painting allows me to go and find my inner self in depth, to allow it come to the surface with all it’s shadow and light, it’s integrity.
It forms it’s own expression, and leads, like all communication to a sharing with others.