For several years, my work has been separated into two different yet complementary forms; each is attached to a particular geographical space and place of production. Thus, most paintings with wavy headbands are made in a large space and open frontally to the outside, while the paintings with quadrangular shapes are produced in a more organized and architectural workshop.
This partition of sensitive work over the past decade, with different backgrounds where it is organized, is now effective, carried by the rhythms it prints, the choices and echoes of the glances and readings it arouses.
I emphasize this for purely princely reasons that may inform my decisions and commitments, even though I increasingly suspect a perception of things that go beyond their expectations.
To say that the reasons always escape, there would be only one step, and cross it...
This does not exclude comments on what I paint, its how and why, if only to exercise this property of painting that would make glost and write in its surroundings.
By painting, I cannot separate myself from the ways of being in the world, nor from what has determined them. The ruptures and contradictions encountered are projected and found in practices, more to energize them than to establish them.
I space and gather; I space myself with the headbands, in the outfields opened by their lateral leaks, and gather in the disorderly groupings of the quadrangles.
The ripple prints its movement and energizes the headbands, stopped, accelerated or slowed down according to the colors, the disorder of the groups of quadrangles opposes their fixation in figures;
These concentrate or, at the whim of thewhites, "sparse" in the extent to the net limits that contain their flight.
This place, this place (this backwards?) where I feel like I am gradually settling down, are finally the ones where I stand from the beginning without ever having raised them, probably because of my restraint or rather my inability to point them out because of probable evidence; sometimes we remain blind to what is most present before our eyes.
I always expect painting and its history, which they do not give up right away. That is why I often return the seemingly most assured reasoning, to make their hollows protrud and, for the benefit of reversion, to mount what remained hidden in the shadow of their folds.