Louise Bourgeois once said « Colour is stronger than language. It’s a subliminal communication. »
Impressionist theory, the philosophy of Josef Albers, the artists who worked under the name of Color Field Painting, the contemporary metaphysics of Olafur Eliasson, all were passionate about particular shades.
Ever since I was a child, I have always seen colours in everything. It is my way to translate what I hear, read, taste, feel, smell or see. In every corner of my life there is a colour or a nuance. Colours are my way to understand the world.
My abstract paintings are a personal expression of my fascination for colours and forms, the northern light and the southern brightness, the interstices of life, the space that intervenes between things, especially between closely spaced things. The paintings – only made of pigments from the dry pastels that I crush, smash and smear on the canvas, in order for each painting to have a very profound and captivating presence – include fragments from the past, my dreams and my imagination mixed with images from my life, translated from my emotions. Like Degas’ late works in pastel, my pastelworks are more painted than drawn : I put coat after coat of colored chalk on the canvas, moistening them and piling up one surface on another until these works take on something of the quality of miniature frescoes. Degas went back to the deep, sonorous colors of the Venetians, I try to bring up the best of every colour, its deepness, vibrations, force and sensibility. I create images that question the spectator and invite him to take part of an immaterial world, filled with serenity, existentialism and poetry. I love the abstract for its lack of representation and urge my audience to seek clarity and personal spirituality by projecting their own internal ideas onto my canvas. The goal is to create a compelling work of abstract art by which the viewer feels endlessly absorbed in order to generate a meaningful dialogue.
I think that there are endless variations of tone and proportion, resulting in different moods and effects. I want the paintings to be highly expressive, to glow from within, conveying strong emotional content. Like Rothko, I am moved by color relationships, but I don’t want my pictures appreciated solely for their spectral qualities. He said, “If you are only moved by color relationships, then you miss the point. I’m interested in expressing the big emotions – tragedy, ecstasy, doom.” Aiming to envelop the viewer in only one particular colour, applied on large-sized canvases, the expected effect of the paintings is an intense emotion or ethereality.