"Embrun" Painting

My work is rooted in contemporary reality. I engage in a dialogue between classical painting and modernity, between heritage and reinterpretation. I am particularly fond of the period at the turn of the 20th century. The bold compositional choices, the simplification of forms, and the expressive intensity of colors characteristic of this era profoundly nourish my practice. My process often begins with the creation of models on a graphics tablet. This tool allows me to experiment freely, to deconstruct the initial image, and to offer several variations. Through this preparatory work, I gradually move away from observable reality. I seek to condense reality, to extract its essence. Forms are refined, sometimes recomposed; perspectives may be modified; planes are simplified or fragmented. This phase allows me to harmonize unusual hues, to dare rare chromatic combinations, and to create powerful contrasts that structure the pictorial space. Color occupies a central place in my work. It is not descriptive, but emotional and structuring. I am influenced by the chromatic intensity of Henri Matisse and the luminous freedom of David Hockney, by the Synthetism of the Pont-Aven School, which favors flat planes and the simplification of masses, by the silent and narrative contrasts of Edward Hopper, as well as by the tension between abstraction and the construction of volumes in Nicolas de Staël. These references are not direct quotations, but diffuse presences that guide my gaze and my way of organizing space. For the past two years, my work has taken on a more introspective dimension. I have chosen to stage striking images from my dreams. These nocturnal visions, often fragmentary, provide me with strange spaces, unreal lights, and unexpected associations of ideas. I do not seek to faithfully illustrate a dream, but to recreate its sensation: an atmosphere, a tension, a dominant color, an impression that lingers upon waking. These paintings thus exist halfway between imagination and reality. They construct a floating, suspended world where spatial reference points are deliberately unstable. The fragmentation of space becomes a narrative tool: it allows for the juxtaposition of different viewpoints, for the coexistence of multiple temporalities or levels of perception within a single image. The light, often invented, does not adhere to a naturalistic logic; it structures the emotion of the painting.