From urban collages

Until spring 2007, I mainly used a technique based on the processing of freely associated images integrated into the canvas using acrylic paint and, where appropriate, oil.

My work then consists of staging an “archaeological sample” of History, art history or my personal history.

The canvas is treated with layers of paints, materials, fabrics, successive collages evoking sedimentations, the sedimentation of these stories.

The elements appearing on these canvases are taken from everyday life: papers, fabrics, various materials… paint. The acrylic binder allows this sedimentation. The frame, for its part, represents the delimitation of the sample taken.

Pour monter sur la butte Montmartre, 100 x 65 cm, 2005
Rappelle-toi, 50 x 25 cm, 2001
Orange sur magenta clair, 100 x 81 cm, 2014

To Nature abstraction

Since 2007, I have mainly been developing abstract painting.

My work is part of the American abstract expressionism movement of the 1950s. Painters like Clyfford Still, Robert Motherwell, Sam Francis, Joan Mitchell, Barnett Newman and Mark Rothko have made me evolve, both through their work and through their thoughts.

The writing of certain writers continues to echo my work. Marguerite Duras, Bernard-Marie Koltès, Virginia Woolf, Marcel Proust, not without a certain economy of means, summon imperceptible shifts towards spaces, states, emotions, sensations, places, others.

Also practicing psychoanalysis, I would paraphrase Lacan as follows: “The painter only authorizes himself and a few others”. The others for me are these artists.

Tension and resistance

A field of rapeseed around my studio in Eure-et-Loir, where the light on the cadmium yellow of the flowers, the azure of the sky, the traces of burnt umber resonate. Nature has interfered in my paintings, but I do not seek to produce with natural elements like Land Art artists.

What drives me is what nature offers.

Rapeseed field (photo)
Terre d'ombre au bleu cobalt, 100 x 81 cm, 2016

Immersion, transparency, depth and envelope

The flat areas of color are surfaces of silence, in opposition to the interstices which create punctuation, tension, vibration.

The pictures of Antonioni, Bergman, Godard, Naruse, Tarkovsky where the oppositions between light and darkness, the confrontations of color fields dominate, are for me a great source of inspiration.

Beach, Normandy (photo)
Ex-île 4, 100 x 73 cm, 2022

Neighborhood, intersection, border and punctuation

I want to share the effect of surprise aroused by contingent colors, without trying to create prior figures.

The flat areas become the surface of my mental projections, the fragments of an emotion and a silence.

Foam, waves (photo)
Grand bleu aux écumes – 100 x 73, 2018