“Images are the only possible way to anchor my imaginary at a given point. What exists in the space of my formats is relative: it is just a gateway towards another realities”.
A subject becomes one as soon as it gives me a glimpse of potential re-construction.
I work by series, I have defined successive phases. My very first digital snapshots are a simple starting point for the new reality that I will insert in my formats.
Colors, Geometry and Scales.
Johannes Itten’s Theories of Colors were, from the very beginning, an essential base for my approach to color.
Contrasts and colors are ingredients that make it possible to modify the perception of the world: all combinations are possible and only the filter of my appreciation or my intuition can accept them… or destroy them forever. I enjoy an almost disconcerting freedom: experimentation with color is limitless.
— I need to guide the viewer within a structure so that he/she can follow my visual statement.
Geometry is present on a large part of my formats: symbols, fractal shapes and networks can be duplicated to infinity. The mirrored duplications are also perfectly adapted to this new reality that I am trying to create.
The infinitely small and the infinitely large are only one reality, both include each other: are the atomic, cellular and stellar distances not comparable? My work establishes a parallel between cell, atom and pixel
and I do think that the smallest unit can include the whole Creation.
Symmetries, networks, labyrinths | Perception.
I strive to secure some spectators proposing symmetries, or at least a series of axes enabling them to cling to a certain visual reality; I am fascinated by nested worlds, networks, fractal forms and labyrinths: one can enter it but one does not get out of it. An astonishing observation is then necessary: if our senses and our understanding have a limit, one is nevertheless able to create beyond the perception. This represents a satisfactory definition of Art.
If symmetries and duplications appear quite clearly in the geometries I propose, I do not want them to impose static images: colors and contrasts amplify the movement of my creations, it is a fundamental point of my work. Moreover, some of my images retain realistic elements, one can recognize or interpret everyday things: one sees them, understands them, but distortion modifies their reality.
What I create does not exist, at least in our confined reality | Distances.
The main part of my large paintings and some of my drawings include an additional feature: physical distance to format. Perception is modified according to the spatial position in relation to the image:
— Facing the format.
Perception is modified depending on the spatial position with regard to the format, the image evolves with the distance between us and it.
Ten yards away: we fully capture the subject.
Five yards away: the eye focuses on the rhythms of nuances that compose it.
A yard away: fine clouds.
An inch or two: a myriad of lines, forming variable masses.
The heart of the subject cannot be perceived as a whole.
— Loss of visual references.
I invite the beholder to recreate a part of the image following his or her own sensitivity.
My themes are simple, at the crossing of a personal reality and an amazing experiment that pushes the eye into its entrenchments.