Before anything else, my paintings constitute a radical experimentation with materials and my permanent need to push the limits of the binding agents and lacquers I use. My need to find new means and new subjects allows me to give life to all the possibilities of the medium I am exploring. Therefore, the subjects represented in my paintings are primarily justified by the possibilities they offer me in terms of pictorial potential. Indeed, there are no guidelines, nor precise explanations for interpreting my paintings, only my preoccupations and wanderings which I will try to share with you.
For me, Nuit Blanche is synonymous with a marsh lost in time, a world of wonderful yet scary meanderings with neither time nor spatial limits. A diffused and gloomy light bathes this uncertain world of sprouting flowers, genetic experiments and magical mutations. It’s an explosion of life and forms which, from the infinitely far to the infinitely small, comes forth like fireworks. But, hidden behind the allures of a garden of Eden, monsters and traps lie; honey and poison argue the favours of a nature coming into form.
These jungles – (Falling Garden, Silent Ways, Creux de Vent) braids of lianas and cocoons, cells and crystals – aren’t they the very places where origins took form? The world is at it’s beginnings again, clean and smooth; the eyes slip across it as morning dew. This world is a wonder, but a distance is maintained, such as in the aerial and crystalline landscapes of the Renaissance; here is the world and there is us, and I want to preserve that astonishment in its cold and spectacular form.
Indeed, in my paintings, the menace of a clash is never far. At any time, a cataclysm could replace the wonderful and prodigious (evocative) scenery first appearing to us. The cycles of life and death travel together, like metaphors of vanity (Galileo). If the nature described is beautiful and rich, it’s beauty and delicateness are held by a thin thread (Mistral). It is this very moment that is important to me, this fragile equilibrium of forms and colors, light and darkness which could, at any moment, be destroyed.
By the richness of their tones and their multiple layers, the Technicolor works play on the same principle of precarious equilibrium. They are larger, panoramic visions, new horizons looking at worlds being formed under tropical heat and marine air currents (Oxygen).
Translated by Dany Filion and Rebecca Bishop