Dispositif pulsionnel 9 (Orgia di primati dell’Homo Sapiens 2) Drawing

I started my artistic practice in 2020-2021. Before that, I wrote about art and artists. Born in 1975 at the foot of a stormy and changing sea, escorted by chalk cliffs, I keep deep inside me these contrasting, colorful and changing sensations that will serve me during my artistic studies in faculty. After four years, I support my Master of Fine Arts which articulates writing and plastic experiments: the mixtures of drawings-paintings-collages appear in a neo-expressionist and dadaist perspective; they try to replay, at the level of the mobilized pulsional devices, the famous child-like polymorphic perversities of the modern plastics of which Lyotard speaks about modernist avant-gardes. My Master’s director chases away my fears of an academic university and opens me to the complexity of the drawings of Grosz, Steinberg, Vallotton… Finally, it is possible to write, compose and think as an artist, to consider an aesthetic intelligence. On this enthusiastic momentum, I decided to continue with a DEA and a PhD thesis in Arts, defended in Paris in 2007 on the notion of «living forms». The publication of a book about the experimental film poet Jonas Mekas in 2014 marks the end of this writing period of my life, even if texts are published until 2019. The lockdowns in 2020 accelerate my rebirth in artistic practice. Since then, I have continued to express myself through a pulsional, rhythmic and carnival device. This precipitate of desires is composed of a mix of figurations and abstractions, graffiti, paintings and drawings, collages also sometimes: so my sensitive doodles are born. They aspire to an incandescent, dazzling, wild and poetic beauty… The vital energy, the animal desire, the primitivism, the gestural dynamics that animate them, give free rein to living forms, open and fragmented, like baroque sketches with perpetual metamorphoses. The light and ephemeral character of these sketched forms, free, becoming, is in tension with the all-over (or vacui horror) that saturates and weighs down my spaces. This complex interlude defines one of the components of my style. My paintings are the product of joyful drunkenness, vertigo and mixtures that have for pagan sire Dionysus. Their orgy, moving and colorful forms correspond to the bizarre, multiform and versicolored beauties dear to the romantics and Baudelaire. When I scribble, my paper takes on an excess of sensitive presence. I paint to excite myself and to keep quiet.