Large formats

Drips on cardboard

Castings on free canvas,

Painting on canvas, mixed technique, seam fixed on a wooden cleat.

This serie is made on free canvas without frame. Assemblies with seam. In addition to the paintings on cardboard, I used the canvas as a support. I like to cut them out and then sew them into assemblies so I can vary the rhythms.

After spontaneous casting, retouched works,

Retouched casting paint on wood, with mixed technique, ink and acrylic. After the experiments on paper and cardboard, I chose wood as a support. Then I started to touch up with acrylic. When the castings inspire me to create a landscape, by obstructing certain parts to recreate the composition. Partially figuratively defined shapes, which one can read, by relying on imagination.

Also, because I have done a lot of paintings with printing ink, I came up with the idea of​​ extending the scope of my experiments in the same way, on various selected papers. This has turned out to be very interesting, as each paper shows a different reaction pending on whether, it absorbs a lot or not, or whether it is smooth or rough. So I collected different papers, and all the possible media available to me. Then, I came up with the idea of using ink on the pastel card, the ink being thinned with turpentine – the paper takes it well. If I use acrylic or gouache, water-based painting techniques, the grains that are stuck on the pastel card degrade, and it loses its interesting side as the small grains disappear. So, I quickly gave up water-based paints for this purpose.

With pastel

I couldn’t think of an idea I liked enough, to start pastels; So, I chose to transpose the last discovery I made with my experiment on water, “Aqua Evocare”, into painting.

I used inks to make drips and oil paint to compose a painting, portrait or whatever. I started the drips on a vertical medium and in watercolour, then, by dint of trying, I got to work on a horizontal medium. Often changing paper, I tried the pastel card, taking the same process and changing the techniques. In the first part, I made some drips on the pastel card, and then used it as a starting point, for the construction of the composition.

Can we refer to intuitive painting when, from tasks, it is a question of being inspired to invent a pastel painting?

I take very liquid colours that I put on the support which is placed on the ground.

This way, I am able to monitor the movement of the liquid and create mixtures and shapes. So, I create spots, that become the starting point of my inspiration. I then, observe the result and imagine a portrait based on already existing features. I mainly create portraits, which are tortured, distorted, torn portraits, but sometimes I also draw hands. So far, I have focused on stepping out of human forms. And I also continue abstract drawings on the side, based on the same creative process : first the drips, spots followed by the addition of pastel.

The combination of both techniques works very well, because the passage of the ink keeps the qualities of the pastel card, and allows working with pastel in good conditions. Both materials remain distinct, and thus, an opposition of textures allows a contrast in the composition.

Hence, the expression of the liquid form is apparent along with the drawn surfaces.

The experience resulting from a lot of research enabled me to discover the mix of two elements that I would not have associated easily. By disregarding various finds, I was able to gain simplicity and discover a way to nourish my artistic expression.

I transposed the technique of the castings on the pastel card, adding modifications to the pastel.