My work stems from exploring pictorial art processes, having done essentially expressionist and formal research. More precisely, I explore the plastic qualities of the material by manipulating lines, chromatic contrasts, but also by alternating between opacity and transparency, matte and brilliance. It is also an exercise between control and adapting to adventures where the material takes me.

The essence of the work is found within, so by exploring the nuances with the comparisons and associations, a dialogue is established in the concept itself. The plastic quality of the line remains the starting point of the majority of my pieces. It allows the containment of colours, the definition of shapes. It guides and translates my movement, like a dance that I accept with the composition. The result oscillates between abstraction and figuration where self-expression testifies to an intuitive, expressionist process.

While the focus of my work is the very quality of the material, the themes addressed are only a support or a pretext for this exploration. Whether it’s the search for titles like Nothing to understand, A bridge for Gauguin, I am a pretty monster, Delinquent mosaic… or the study of techniques: painting with fire, essay on vinyl and fluidity, abstract works allow me to explore the task and chromatic games while I use the line to hint at figures in my compositions.

To give shape to this research, I apply the pigment in the form of lines on plastic sheets thus creating films of coloured substances that I superimpose by transfer of sedimentary layers. Without knowing what the work will be, it is the last layer that will be the first visible of all the layer overlays. Like pages that memorise the outline of a story. I preserve glimpses of the present; I preserve states of mind.

Peinture en direct, Galerie Philippe, Rosemère, 1998