"It is difficult for me to talk about my painting, because it was always born in a state of hallucination, caused by any shock, objective or subjective, and of which I am completely irresponsible."
Joan Miró, "Declaration", December 1933
Like Miró, whose painting seems to be the trace of a shock that occurred without his knowledge, I paint images stolen from my memory, and almost unknown to my conscience.
My painting manages to take me back in time. I am looking for an emotion that will arise from a musical phrase, a conversation or a visual observation that transport me in my story. Memories are like pieces of moving memories; ideal images imbued with nostalgia or well-being. These moments of life, happiness, sharing, I bring them back to life through my painting. I listen, as a spectator of my emotions, and I become an actor by painting them.
My painting: frontal, instinctive, brutal must be quick. I paint very quickly. This rapidity is due to the ephemeral sensation of the memory that I hasten to capture before it evaporates, like a dream that we try to retain before it fades; the image, like a flash, does not stay long and fades. I have to act quickly, and keep the moment intact. There is no questioning, no retouching. I paint all at once and once finished, the painting will not be touched up. It will remain as it is, as close as possible to my memory image.
In my painting, I try to transcribe an experience and not a previously-seen, an emotion identifiable by all. Any viewer of my paintings can recognize this place, this beach, these trees, this house. In fact, my goal is for him to become a spectator of his emotions, which he identifies by projecting himself into a setting that is emotionally familiar to him without recognizing it visually. Emotions come from the heart. The way of the heart is original and universal, it is not corrupt. When you are listening, it is bright and intense, natural, disconcertingly simple. So I use bright and intense colors. The colors I use are raw and solar.
Today, we are parasitized by shocking images on a daily basis; television news, advertisements etc ... and we cannot help but be passive, absorb them and they overwhelm us. I'm looking for a return to simplicity, whether my paintings are bright, whether they involve the participation of the viewer who decides whether or not to appropriate them by recognizing them.
I mainly paint places, objects, people, gardens, houses surrounded by greenery; places I've seen, dreamed of, gone through; people I have met, contemplated, desired. I use supports that I found, that I recycle that I reuse. They are steeped in history, like pieces of wood with their furrows, their grain, their shocks. By painting them, I create my own story with what we have been left with.