About

We are often asked what our artistic approach is. For the contests, registration on professional websites, galleries, etc. Here is mine, updated on 28/04/2019:

 

We only paint what we are, what we live, and even more so what we can see and what we feel.

 

What is a graphic work but an antanglement of shapes and colors? Colors whose codes and semantic fields are culturally established but have their own energy and their specific effect on all of us.

It is the same for the shapes of which one knows to recognize the softness, the violence, or the movement. Colors and shapes that impress their mark according to their complexity and their arrangement, express then the balance or the imbalance, the anguish, the pleasure or the joy, etc.

 

Following the lead of Wassily Kandinsky, Paul Klee and also Zao Wou-Ki and Gao Xingjian, I try to explore the intrinsic language of the world that we are given to perceive in his extraordinary variety.

 

Through all the shapes and colors existing in nature, i try to decipher the messages, the vibratory language, by using them as a pure mode of expression, beyond the symbolic, beyond what is recognizable as an object, beyond words, beyond what we can see.

 

I paint the world as i perceive it in its mystery.

 

Each of my paintings is a representation of the questions I ask myself, doubts and discoveries, a slice of the experience of my feelings, a graphic interrogation of our existence and our essence.

These are snapshots of my soul.

 

They are therefore inseparable from my personal adventure.

They line up in the manner of a photo album my spiritual and philosophical journey. They are so many pictures that allow me to become aware of what I live, of what we live deep within ourselves and can sometimes be discover a parcel of answer in their just realization.

 

Over time, subjects and meaning become clearer, become aware, I do not put my titles to chance even if they may seem fanciful to some.

 

To conclude, I would say that aesthetics can be studied in another way than on the basis of an opposition between objectivity and subjectivity. It is rather a kind of energetic interactivity between the object looked at and the one that looks, linked at first to the shape and the color, but also to the sounds and any other form of sensory perception.

 

This energy perceived passively by the gaze is transformed very quickly into another, according to the disposition and the nature of the one who looks. His feeling of beauty - if there is a feeling- will determine the watcher to become an actor, he will then project in turn an energy that will come back to him to infinity.