Cerisiers sauvages

To explain my approach to you, before painting I always take time to meditate. At the beginning, I have a very basic idea of my finished work, during the whole process I remain attentive to the energies released by the work, it then becomes an entity in its own right with its own energy. Throughout the creation process, I am at the service of my work. I have the feeling that it is the work itself that decides when my work is finished. From a technical point of view, I never use black instead I use a very concentrated Prussian blue. I always work by superimposing layers of paints (I mainly use oil and acrylic paints), I pay a lot of attention to the vibrations of the colors. The subject treated in the work becomes almost secondary, it almost disappears behind the perspectives of coloryometric vibrations.

The implementation of the different layers of colors requires a very long drying time. Indeed the glazes of pigments superimpose the layers of oil paints. I pay particular attention to the superposition of the layers because it allows me to increase the visual depth of the work and the impression of the spectator’s immersion. The spectator then becomes a full-fledged actor in the work, they become one.

The use of paper, instead of a linen canvas, is explained by its intracecal qualities. Indeed the paper, thinner with more absorbent properties increase the feeling of fragility and sensitivity of the work. Through the works I sought to transcribe the power of theluric energies and of nature in a broader sense. In my work, I relate the littleness of man to nature. This research highlights the disconnection from the contemporary Western way of life and the vibrations of nature.

I approach the landscape by its immensity and the possibility it offers of losing the living beings that inhabit it. The landscape becomes an abstract expanse of pure color.