The roness of the night Painting

I draw one or more characters, most often a woman freed from the dimensions of the body. The body has sometimes been reconstructed in the permanent movement of colors within an open dialogue between lines and space. Space and lines are in a dialectical dialogue where everyone takes their place naturally without overflowing. I am forever imbued with the light and the dazzling colors of the Orient, from the first Phoenician drawings until the present moment. This story resurfaces on my canvas and accompanies my feelings, my feelings and my thoughts. The current events apprehended under the prism of my painting also shed light on the human condition haunted by loneliness, as well as the attempts to break it, many times, in vain. The body relaxes and wanders into blocks and line formations. These are beginning to take shape thanks to my perception of prehistoric art. I materialize for a moment what I feel. This moment is for me an eternity, a cerebral meditation resulting in aesthetic formulas sometimes producing a great explosive shock of color on the surface of the canvas. I research the shadow of the body and the features of figuration. These parameters are often absent by the abstraction that is created on the canvas. I do not intend to draw the features of a single person on the verge of collapse! We are aware of our loneliness, but we do not choose isolation deliberately. I don't want to draw feelings through facial features, as I don't use the face to express pain or the uncertain future. I prefer a primary feel through color design. I am aware of the meaning of my painting. It's a work of my mind. But this work is possible only in total agreement with my body and my feelings. I also leave room for chance and coincidence. I always want to give back to the body its splendor and its sumptuous presence. The yellow that I sometimes concentrate in large quantities, framed by the black that suits it, makes the body in a state of ecstasy and softness. The dominating master red of the scene, is inevitable, whatever the means employed to dodge it. I leave him his freedom to the extreme. Is this a leap forward? I am often overtaken by plastic sentences which reveal in their rhythms what I express of pain, love, suffering and joy.