What will be the significant difference of this show compared to your previous ones?

PLENIUM is the most complete display of my researches and results.

On one hand, there is a series of “classic” pieces made of horizontal and vertical lines around which curves are sliding and flowing. “I am (T)here”, “Homme Oiseau”, “Visage Voyage”, “Ex Latent”. Those have a cuadricular structure, usually built around a vertical mediane, by the contrast of colors, layered many times in a process of juxtaposition, so to reach a boldness that allow the absence of the outline.

On the other hand you will see a large series of canvas only made of curves, where the mecanic matrix is dissimulated in an attempt to liberate lines from it. In this series “Femme Sireleone”, “Man with Orion and Sun”, “Woman with Moon and Earth”, there is absolutely no vertical, horizontal or diagonal. All is illusion of free flow.

“Amour Lumière” is also a great example of getting the lines free, where movement and stillness blend, when figurative and abstract fields fuse into one.

Another series “Couple en movement”, “Eau mets deus Flammes”, “Agua de Fuego” and “Fuego de Agua” represent the next step in the experimentation. Beside the fact of ignoring the rectangular matrix, colors and shapes appears in synchronicity. Because I do not sketch with a pencil but a brush, thanks to its width and texture, the line become a shape. Meanwhile creation, those shapes shock or fuse, the definite and indefinite complete one another. During its materialization, the final artwork is never perceivable. The pleasure of creating extends through the whole process.

We also présent a serie of drawings as a tribute to the line, a song of gestures.

“Visage de Vie Vent”, “Il au Seul Oeil Bleu”, “Aile sera Vie” etc… The tool I use is permanent, there is no previous sketch, so each line is fruit of a mental journey through the whole paper before it lands where it needs to be. The full image can then be built around step by step. By rhyming or defying, it extends until the whole is completed. Those artworks are almost a derivation of automatic writing. Their title being the reminiscence of it.

Besides all those, proper to this redisency, I have been able to put in shape a volume I was thinking about since my first trip to North Africa. The jar of clay. I always seen the body of a woman, and I feel like many did too since for ever. So I spent time with a malhem, a master turner, in order to create « Woman with Moon » and « Man with sun ». Simplicity to its extreme, the woman is made of only one continuous sinusoïdal curve, while the man is made of a straight line ending in a reverse bell forging his head.

Once I started to spend some time in the village with the kraftworkers, I was ver happy. Because it brought me back to a spherical sense of time. I felt attracted, almost hypnotized by the endless circular movement of the vertical vortex. A gate to our ancient roots, a présent tribute to the universal myth of human being made out of clay. That’s why I needed to create a canvas of a turner giving birth to a jar. “Le Tourneur et la jarre” gave me a lot of pleasure while using my brush painting curves on the canvas as if it was my hands shaping them in the clay.

Longtime ago, beyond my will, North African Art introduced me to the practice of géométry, fractals and abstraction within the différent kraft of the local cultures. “Khamsa”, also known as “the hand of Fatima” is my favorite symbol. because it’s gréât exemple of the figurative becoming abstrac. I enjoy the strong power of suggestion, allowing the endless potencial of interprétations thanks to the use of simplicity.

I already painted a few versions of it in my earlier exhibit at DavidBloch Gallery, you could see ancient icône fused with a face of a being. But this time, in “Nahar Khamsa”, the face of the healing hand is juxtapozed over the body of a woman with a moon, holding the same curves of the clay jar. Right after, the night brought « Leil Khamsa » as the opposite twin of Nahar. There, the body of a man is standing in the center of the icône.