Pampero, chargui, alizé/ Appellent le zéphyr/Les chargent d'un doux message Painting

My art is both meditative and contemplative in order to attain the invisible, the unreachable. My work does not take its place in the staticity of forms, guaranteeing their autonomy each in relation to each other as in traditional western painting. I use what the Chinese erudites called the Void which becomes in my work a Matrix to present the soul of a landscape, whether it be nature or object. This is not something vague or inexistent but eminently full of life and movement, associated with the dynamism and not the fixity of forms. The object presented will come to life, then melt into a second subject and, inversely, the second can, via this matrix, become the first object. It is a place where metamorphoses,  gestations and births take place. Physical transformations of forms, topological positions of "void ", a median between them. The rising of a curve, sketching a triangular form of a summit ( perhaps of a mountain or a mountain top) that the spectator's eye will complete and to which it will give a meaning. This image will confer a reality that is purely iconic because the metamorphosis takes place in the imagination.  My aim is to not display all, so as to maintain this energy full of life and the mystery intact. This will translate into an interruption of the line, so as not to extinguish its impetus, and the partial or total omission of figures. This interruption of the line is necessary to the effect of discontinuity because it imparts energy and allows the reversibility of the figures, as opposed to western traditional painting which has a tendance to fill in the gaps and prefers continuity of line, a rigidity which would deprive my work of its life. I privilege intervals and the fragmented sections, the "non-painted", give a zone of freedom to the viewer and his or her interpretative fantasy. I invite the spectator to fill in the gaps left deliberately empty, to invest his or her soul, experience, desires and positive imagination. This figurative participation, coherent from the point of view of the general isotopy of the painting transforms the spectator into an actor of the work. The uncompleted, far from the notion of unaccomplished, leaves a circulation space for the spectator who becomes the motor in relation to what he or she constitutes or brings to life.  The discontinued forms, the interrupted lines translate the soul of the landscape. Whether it be contemplated, experienced, imagined, only its essence is re- transcribed.  Neither do I seek to trace frontiers between figurative and abstract, I am not choosing camps.  An pictural image, whether it be figuratively or materially pictural in its making, is not there to represent but rests in the order of the visible.  Even if the represented object can not be named, my work does not find its place in the " reflex opacity" that Daniel Arasse evokes in speaking of abstract works. The painting is not immediately the image of the objects it represents but above all its own image. However, the image does not escape lexicalisation and narration. The spectator is held for an instant at the level of immediate interpretation but after an accommodation of vision and spirit, the painting will become an endless source of continually renewed signs and images. The immersion in the work becomes figural and not figurative plenitude, the aim being to fulfil the spectator by making him or her an interpreter or commentator of his or her own vision, constantly renewed by him or herself, his or her state of mind, environment and experience. The absolute silence hidden in every being then becomes an internal peace, perpetually actualized.