Série Palindromes turbulents,
"La danse de Lysistrata",

I paint like I dance.

The roots of my painting are the movements of dance. My pictorial technique evolves, following the new moves I create as a part of my work of improvisation in dance. As if I was reconstructing what I deconstruct in the movement. This is based on a principle of isolation that I apply equally to movement, space, plane, depth, or else to the conceptions of empty and full. I then combine all these elements with one another, in endless combinations of variations.

Chance, maybe, but always controlled by intentional choices. Thus, it is the shape that produces meaning, the shape subjected to the strict requirements of my conscience. In order to express itself, it must, like all creation, obey to certain constraints; I decided to give this role to water; water must reveal the elements under construction in my painting; these are the premises of figuration (as an example, in my series “Palindromes turbulents”, “La danse de Lysistrata”).

I create my paintings on pieces of wood of variable thickness, square or rectangular, sometimes double sided, sliding, and even with moving elements. The paintings can be hung, put down on the floor; I like them to be handled. What I like most is to chose diptychs and triptychs. And my painting, often with acrylic paint, goes beyond the flat surface, covers the edges of the piece; my painting is on the same scale as movement.

Then, I dance like I paint.
* The basic plane, in general rectangular or square, and thus composed of horizontal and vertical lines which delimit it, is like a living being that the artist “fertilizes” and of which he feels the “breathing”. Point and line to plane, Wassily Kandinsky