From 1999 onwards, colour takes second place. The motivation for these explorations becomes the launching of a dynamic creative process. Strategies of losing control will be preferred.
The development of this vital research will be broken down into paintings and drawings.
Elementary paintings
In order to follow my dream of semi-organic works, I tried to limit the effects of my culture and the power of my will. The elementary paintings are the outcome of the setting in motion of fundamental physical elements (raw material, water, fire, air) used in accordance with their own vitality.
The bare canvas empties out without seeming to be vacant thanks to the tension between the different parts. Brushes are abandoned, replaced by my own body and the traces it leaves in intimate relationship with the surface (bites, different contacts); a single-use sculpture tool is used, immersed to simply orient the deposit of mineral powders.
This object is singular in its function and its destiny. It is presented at the same time as the work of art where it has played its role (reliquairies).
Designation figures
These are black India ink on white paper, format A4 or 65 x 50 cm. The emergence of the unknown, the surprise of discovery are favoured. Each blank sheet is approached without a preconceived project. There is no sketch and rarely any repentence. As for chance, it will be stimulated by the chosen tools which produce unexpected reactions (material rags, upside-down bird feathers) or the adoption of arbitrary rules and constraints: a single ink load, swift realization, volontary blindness, use of random forms.
Thus the paper becomes a new territory for a world to rush into.
In this way, a mental universe is constructed from the germs of the first flecks, by going back and forth from material to the mind.
The venture of the material and perceptual history of its realizaton becomes the true substance of the work of art.