Interview conducted by Caroline Canault.
“I paint instinctively, seeking inspiration from classic oil paintings. I like to approach the techniques of the old masters, discovering how they managed to obtain a specific light, or palette… And any other procedure factoring into the construction of these classic works.
The portrait, endless inspiration
The exercise of the portrait allows me to access an endless range of emotions and sensibilities. With just one look, we can convey so much. The distortion of reality occurs as the work progresses. I sometimes prepare my works by mixing collage, and sometimes, I put brush to paper directly, without any preparation!
Most of the time, I paint figures straight from my imagination. My inspiration is a mix of influential people; kings, dukes, barons… yet I also have fun painting more contemporary celebrities.
Preserving the figurative within abstraction
Vegetal elements, and more precisely still lifes, are a recurring theme in my work. I really do not have green fingers, yet I like to work on them as they allow me a freedom of distortion and dissolution, and also the creation of imaginary flowers as well as unlikely combinations. I always leave a realistic element in my composition so that the viewer can latch onto something figurative, otherwise I would fall into pure abstraction…
I only wish for one thing: a reaction from the spectator! Whether he likes it or not, my main intention is to call upon them as they look at my paintings. I think that the history of the classic portrait has ended. Today, artists trying their hand at this genre, are looking for something new and “Déstrcuturalisme Figuratif” allows for this infinite palette of expression.”