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Painting: Acrylic, Ink, Paint on Wood.
I painted on plywood panels. These are often falls, panels called martyrs found on pallets, for example. I choose them because they are for scrap but also because of the quality of the graphics in the knots and the wood grain. Wood is alive in any form and it is customary to say "he does what he wants". Wood has a soul and a story.
I use the collage of papers or fibers of renovation, adhesives in strips of 0.3 to 1cm of width that I put in the hand. I paint with acrylic and printing ink. This gives me different drying times, different viscosities and transparencies, special colors that play on matte, satin and gloss. These colors evolve in a rather industrial register, standardized for printing or, for acrylics, the building. I create one or more reserves in the layers of paint and / or ink and this at various times of the recovery process. The result, a bit like in silver photography, does not reveal itself for me at the very end, when I remove the masking paper. These reserves and strata also establish pictorial planes, spaces that overlap, compete with each other or interact at a distance. It establishes a game of strong contrasts or semitones, of differences of values, contradicted or accompanied by dullness and shine. Therefore, one is entitled to ask what to watch and how to do it. What is this experience? Should we lose the look to find the soul, the color, the material in its thickness, the light, the space or even the time suggested by the painting? The process seems to be more deceptive.
Artist featured by Saatchi Art in a collection