Silhouette

At first sight, nothing destined him to artistic painting. Coming from a family of workers who were strangers to this world, he himself was a craftsman and handler, he always had a sensitivity for art but he was attracted by music and cinema, not by painting which seemed to him out of my reach and very elitist. One day, a friend of his put her easel and her painting equipment in his apartment: it took this forced proximity, it took the painting to enter his home for me to consider it as a possibility. They gradually tamed each other, and since then, painting is for him a necessity, an irrepressible need.
At first, intimidated, he used carpenter's tools (ruler, square, compass, etc.) to draw geometric figures that he then painted with a knife, because he didn't dare to use a brush. As he became more confident, he abandoned this craft and freed himself from his own constraints to embark on the path of free art and direct expression. He freed the colors and his gestures. He got physically closer to the support. He is in a body to body, in a communion with the materials. He puts his supports (canvases, panels, various recovered surfaces) on the ground or on trestles, and he turns around them like a feline. He manipulates them so that the colors, poured, placed or projected, flow, move and live. He apprehends the painting as a living matter. He was talking about mutual taming: he remains very attentive to the tints and nuances that the mixtures produce, to the forms that are born as he goes along. He refuses to constrain the painting: he intervenes on the canvas according to what it has expressed. They are in a permanent open dialogue. From this exchange arise motives, stories, universes...