My inspiration usually from very diverse things as a magazine page, a book, a picture, a story, one of my previous paintings, works of other classical or contemporary artists.
All of which belong to the realm of reality, my emotions being the guide who will make me out to reinterpret.
This is perhaps due to this operation my paintings are at first appear an easy element to “read” to hang up the real, and if the eye and soul willing to let themselves go and travel via other gateways, each will draw from the perspectve or sense that interests or is simply vibrate.
The elements from the real are often fragments of nature (plants, fowers, …) which are pretexts to take the viewer like myself to a dream world and méditatf released from any known standard. Once inside the canvas, he can project it his own fantasies, illusions. And interprétaton that seemed simple at first is more sensitive, more complex.
I make sure to create multiple levels of reading to catch the eye whatever the place of entry and allow whoever wants to escape, to relax himself by releasing his own emotions. At each stop where he wants.
These multiple gateways also aim to “lose” the spectator to push him to leave the often alienating constraints of reality and allow it to reach its own true nature.
I can also say that I build a kind of anarchic harmony comparable to authentque nature and not channeled through the human, to strike the viewer and thus awaken his desires, emotions, fears, aspiratons. This is what I call the Hypernature.
At present many works are immediately understandable, regarding my work what seems on first impression may not necessarily be what becomes visible to fll time.
I am a rather sensual and emotional painter, driven by intensity and vital drive rather than an intellectual and cerebral approach, even if, in retrospect, I can analyze what motivates me and what I tend to.