The canvas being
Atropos and the path of sensitive intuition
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It's through a fictional dramatisation of reality that I try to reflect on artistic creativity, particularly when painting a picture. Through the logical immediacy of making, I try to unite two presences: the painting canvas and myself/body. I am therefore able to hinder a chaotic perception: a kind of voluntary hallucination on the pictorial material, a way for me, as a painter, to no longer be surprised by the distance that creates the anguish of lack. In fact, I see myself squarely in the other, and the most terrible thing is that I paint to give form to anguish so that I can exorcise it wi...
It's through a fictional dramatisation of reality that I try to reflect on artistic creativity, particularly when painting a picture. Through the logical immediacy of making, I try to unite two presences: the painting canvas and myself/body. I am therefore able to hinder a chaotic perception: a kind of voluntary hallucination on the pictorial material, a way for me, as a painter, to no longer be surprised by the distance that creates the anguish of lack. In fact, I see myself squarely in the other, and the most terrible thing is that I paint to give form to anguish so that I can exorcise it with gestures sketched out instinctively. The reader will notice that the discipline of painting disappears in favour of the gaze and fantastical speculation. ... The body, form, sound..., everything that is grasped by the artist's senses, ceases to be physical and is transformed into the substance of the spirit.
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