What I paint

A mathematician by training, a discipline that I chose for its infinitely dreamlike dimension and that I taught for years at the university level, I attended the famous studio “La Grande Chaumière” in the Montparnasse area in Paris for a number of years. The painter René ARTOZOUL was my teacher there. I also studied anthropology.

As far as I can remember, I have always painted humans, often only one at a time and only the face, simplifying their representations to the extreme – in the drawing as well as in the choice and application of the colors – so that one can imagine their current emotions through their expression, whether it be implied or merely suggested.
What interests me fundamentally is not to show the context or the environment of these emotions, what created them, or those who witnessed them, but to enter their depths and allow one to imagine both their genesis and their evolution, limiting the register of pathos as much as possible.

This was true for my paintings on canvas, and it is also true for my digital paintings, which I create using my fingertips, without a stylus. This very tactile technic is very helpful in allowing me to give birth to the emotions that I want to suggest. Not to mention the pleasure of being able to create and “un-create” a piece as it is being born under your fingertips, as you see fit, without ever having to kill the previous version to find the new state of equilibrium of the painting being created – unlike what happens with physical mediums.

My themes cover the spectrum of humans pulsions, with their joys, their physical and psychic torments, their calls to myths and religions, their fights, their carnages. I also pay homage to many “figures”, contemporary or not, public or private, real or imaginary, all of whom are important in my eyes for what they tell about our collective history or about my own history. In particular, the members of the Holy Family come to mind, the “of Nazareths”, especially Mary and Jesus, during the “terrestrial” part of their existences, which is the only part I am interested in for my paintings. And, here too, I attempt to get the viewer to imagine.

There probably is a form of militancy in my paintings, in the sense that oppression by others is often present. In this respect, the French art critic and curator Christian NOORBERGEN did me the honor of writing that “[My] art is “charged” as a timeless talisman might be.”

And there is also perhaps a certain touch inherited from arts seen as “primitive”. These arts, now called “primary”, are magnificent and universal imprints of a form of eternity that deeply moves me.

My digital images are printed on Epson Hahnemuble Photorag 305g paper with a Diasec® Plexi/Plexi 3+3mm finishing that offers a color guarantee of at least 100 years (Museum Quality). They are available to print in various formats, most often homothetic to the A format, which is the one used for most of my images.

The result is an exact copy of my initial creations, both in the colors as well as in the material effects that I introduce. My paintings are available in three limited editions (all formats).