Profile
I have always been fascinated by colours and art. As a teenager, I discovered abstract, primitive and oriental art, during visits to museums and in courses organised by a teacher outside the school. Since then, this attraction has constantly been strengthened.
Although my studies in literature (3rd cycle) focused me on writing for a long time, I’m deeply captivated by anything that frees itself from words to arouse emotion.
But, until March 2011, apart from a few unsatisfactory attempts, I wasn’t practising. Computers, which have been part of my world for nearly forty years, ‘unlocked’ me. More precisely, the discovery of a fractal generator. I then started to create them, to ‘jostle’ them, to play with their limits, and to develop a creative process.
At first, I try to ‘erase’ their very iterative aspect, to stay on the edge between symmetry, repetition and chaos. I associate them with textures, photos, elements of digital painting and utilise the potential of layers, fusion modes, etc. To avoid falling into a method, I always favour experimentation and like to leave a little place to hazard.
My ambition is to open, without using words, the doors of the imagination, of emotions. For me, it’s a question of ‘giving to see’, as Éluard put it, and not of explaining or indicating what one should see. For this reason, I exclude guiding anyone in their reading or interpretation by titling my creations or writing an accompanying text. The meeting between the work and the viewer becomes the place for a real exchange, the space for a fusion between forms, colours, atmosphere and experience, experience and sensitivity.
The Colours of the World: a Project initiated in 2019
The colourful universe of nature, even when abused by man, is an inexhaustible source of inspiration. A computer tool, used before the conception of the fractals, authorises me to ‘steal’ the nuances of an image, whether it shows the infinitely small or the immensely large.
Gradually, those of autumn landscapes, Jupiter, remarkable barks, butterflies, animal eyes … began to punctuate my work.
And, in 2019, this trend grew into a series. It then became a long-term project called ‘The colours of the world’.
Coral reefs, salt marshes, rice fields, Icelandic glacier melt ponds, unusual sites … allow me to explore the richness and the infinite variety of our universe, so beautiful, but so fragile.
