My form of art could be called «imprints and vestiges » since I try to collate the bribes and relics of different past civilisations.
I don’t wish to re-transcribe facts or re-trace different pictorial meanings, I try to create a sort of poetical telescoping of the different tempos of our era.
From the Magdalonian imprints to the “époque romantique”, passing trough Etruscan, Hellenic or Roman periods my initiatical journey is an amalgam, a condensed fly-over, pushing, driving me to search for the spirit, the colour and form of passing time.
A sort of uninterrupted interrogation inviting me to look for an “answer” using “raw” materials, natural pigments, oil and tempera, modelling the backgrounds, using and rediscovering old methods and techniques, I create my world.
Using the intervals, the hollows, smooth surfaces, softness and strength transparency and opaque, I remake History, my History.
A History which isn’t regulated by any technique asserting itself in time, no, a technique for each painting demanding a complete and new research. Each time a painting is done, the work is accomplished according to different factors: the different materials used, their thickness, the weather, the air temperature, hygrometry, the size of the painting...
In front of each painting, each pair of eyes make their own journey, they penetrate it’s universe, dream and think about what and why; further than the immediate appearance of the painting, it calls and questions , feels deep inside, returning all questions asked...
Different layers of matter and colour, colours superposed, dispersed, spread, grazed, layers thick or thin, nervous and calm the painting “speaks”.
Delicate or raw taints, primary colours mix with ochre’s. Walls or rugged stones worn oxidised and weather worn imprison forms and shapes nearly erased, eroded, abstract or allusive which appear or disappear on their ancient background.
Partially covered pencil marks sometimes appear permitting the enlighted amateur to suspect the artist’s presence and discover me through the painting without imagining a voluntary tearing off of pieces of History.
Such form representing a feminine figure, the lines of her contour don’t describe her, but animate her essence, add up to a certain idea of womankind, made of grace, transparent, undicipherable, always strong and fragile at times.
Original Memory, prehistoric parietal art, where the unspeakable meets reality, where a detail becomes a symbol, a symbol of what’s left, a cryptogram of rupestral art with a nearly erased line is still as strong as before representing all...
Erosion takes nothing away, on the contrary, it suggests other expressions, it authenticates the image with the seal of Time.
Sometimes a journey of several thousand years, wandering in the Universe, my conveyance takes me from the banks of figuration to the doors of abstraction....
But isn’t that the real form of memory and life....