The ‘erotic’ collection brings together the imaginary world and still life.
The second theme is related to the general approach to the image described for the other productions.
The previous approaches are continuing. These various aspects of sensitive appropriation have recently been explored in a shared reflection within the Resilience Art movement introduced by the artist Ksenia Milicevic (https://www.art-resilience.com).
The fragment, the reframing or the cohabitation of the various stages of production, as well as the more random, but very assertive line, continued during the period of my tropical stay. Some more traditional works reflect local culture.
The random lines of previous years have highlighted a link with a very specific image production in Western culture: stained glass. The fragments suggested by the lines joining the real stained glass are treated to reflect the diversity of the subject by varying the nature of the supports, the techniques and the content of the pieces of the puzzle.
The narrative aspect of the representation is accentuated by patching the support with pages from old books and adding thick letters. Every representation suggests a story. This line of thinking led to the creation of works in relief, particularly in the form of open books combining illustrations, symbols, writing and materials.
At the end of the decade, under the figuration of the world I proposed a more social dimension to evoke the ultra-liberal universe. The barcode and the QR code are the most representative symbols of our world governed by a pre-eminent finance. Images and logos evoking the contemporary cult of Mammon feed the link between media and representations.
My first period was based on the imaginary. Fictional architecture, seascapes and still life allowed me to develop technical skills. Reflecting on the images that surround us and those that I was making helped me to develop a critical approach in line with my university training. When the visual artist takes the representation of his subject in the place of the original, he creates a mise en abyme.
Our technocratic world of universalised communication is increasingly sending us back to a vicarious experience. So I proposed a narrative deconstruction through juxtapositions of reframings revealing the different stages in the making of a painted image. Before the passage to the third millennium, the line was experimented with in random coulures, reinforcing the graphic aspect and giving a new perspective to works including elements in relief, combining materials and representations.
