Variation sur une lumière
My artistic research evolves as a phylogenetic tree (genetic classification system of living organisms). Each of my techniques / methods in painting is classified as a distinct branch belonging to the same great ensemble, in which the "common genetic denominator" is liquid oil painting.
Categorizing my practice through this system helps me visualize the ties between the "branches" of this stunning pictorial diversity that is offered to me. It also allows me to easily grasp the unique attributes of each branch.
Painting after painting, the choices I make during the creative process are similar to a fight in a mental arena. The white canvas becomes the living space for which the "branches" compete to exist and expand. This struggle for existence is raw and immoral, putting into play many strategies associated with the evolution theory: competition, symbiosis, mutation, interference, cooperation, etc.
I invite you to interpret this new 2017 series through this evolutionary lens.
If you are willing to lend yourself to this exercise, let me share with you a brief recap. My first solo exhibition at Galerie D’Este, in 2013, was a sort of praise of diversity. Each painting represented a different branch of the phylogenetic tree. I wanted to present this series as inclusive and all-encompassing, where the imagery allows for differences in the technical approach.
Suddenly, without my notice, a super-predator arose from this mixed soil. One of the branches of the tree started grabbing my attention due to its impressive properties. Gradually, it took over all the available living space, devouring the other branches with its temperamental character. I have since, for the last five years, been devoted to the exploration and refinement of this single technical branch, setting aside a more exhaustive and diversified vision.
But here it is, the tsunami, the meteorite, because I finally chose to end this era of supremacy.
You may, however, observe that the aim here is not to completely break with this last period. This new body of works remains a search for a particular light, achieved through subtraction of a translucent material, where the range of possibilities lies between white, the absence of matter, and black, total saturation. This series is a return to an exploration that emerged from the "mixed soil" of 2013, while the essence and the learning process of the last five years have remained.
For this new series, I used the high-pressure air jet of a compressor as my main tool, its intrinsic properties defining most of the forms in the paintings. The omnipresence of the circles is imprinted by the air on the liquid matter. The circles accumulate, twist and fade to generate an abundant substance that seems to have an astonishing propensity for the representation of bodies. A multitude of faces, heads, legs and muscles have constantly emerged from the abstract paintings throughout the creation of this series. Creating figurative elements intentionally only came later, because I believe I must allow my creations to be free and diverse.