My painting attempts to return to the primitive cosmogonies in which the stars were flat disks rotating around a center embodied by the earth.
The discoveries of science over the ages have overthrown this order of perception by injecting such a broad range of knowledge that “what we know” and “what we see”, the known and the seen, have irremediably contaminated one another.
Yet such forms of primitive resurgence still survive in language, as when we say, with great delight: “the sun is rising”, although we all know that our earth revolves around it. This reveals a true poetic impregnation which largely suffices to justify my need to return to the original innocence of the eye which leads to this tautology: “see what you see”, rather than see what you know.
The matter is far from easy, since each perception mobilizes millions of increasingly heterogeneous parameters.
I have consequently chosen to adopt the innocence of the tabula rasa, the bare surface, the bare whiteness, the “something rather than nothing”, the immediate glance, center, circumference, multiplication, to build up a simple diagram which will actually make a chromatic experimentation, a chromogony” (one might say) possible.
This form of painting consequently does not present itself as a fully accomplished image but stands as a field put at the disposal of a strategy of the eye that does not exclude any form of freedom of interpretation. This being the case, one stands neither facing the image, nor inside it, one produces it as does the performer who is indispensable to any music. All the visual phenomena that form these fields of tension and are recognized as such consequently deserve to be appreciated on their own, without being referred back to what is termed “reality”.
Another reality unfolds then, like an epiphany.