The use of screen-printing techniques, discovered very young, and removal of pigments enhanced with paint allows me to draw a link between these two schools. The entirety of my painting is articulated around silkscreened images, drawn here and there, which, mixed with the painting, make of my canvases a support of abstract expressionism. But what counts, beyond the retinal perception is the concept of creation, it is to perceive the palpitations of existence. Being an intermediary, a smuggler, between abstraction and the figurative, that's how I want to be perceived.
With the paintings taking up the theme of the tapestry of Bayeux I want to testify that art never reaches its end and that there is a form, even a dialectic, of permanent creativity. Although initially reasoned, the construction and realization of a canvas remains subject to many hazards because of the use of different techniques that although mastered often prove capricious. I often say it as a joke that the presence in my workshop of a Godin stove is sometimes particularly useful. In fact, even if the initial idea is generally successful, the pictorial approach and its realization are often fraught with difficulties.