Part of my work arises from observing the changing states of perception: a sensation, a persistent image, an experience and their minute tipping points.

 

My work is not linear. A piece can begin with an image or a feeling, but also with a material that attracts me without my yet knowing what it will become. I can leave it in the studio for a long time before I begin to manipulate it. Folding, unfolding, spreading, hanging, arranging, assembling: the material then participates in the emergence of the form.

 

In my painting practice, I speak less of paint than of colour. I work with it through layers, mixtures, nuances, thicknesses and densities, allowing the support to participate in its construction.

 

For several years, I have deliberately limited my palette to a range built around flesh tones. Starting with red, blue, and ochre, I develop an ever-evolving palette, from caressed to bruised flesh, from softness to injury. Each mixture is created during the creative process, in a balance between intention, control, and chance.

 

The exhibition allows for the weaving of dialogues between these contrasting works and the public, who enrich the proposals made to them with their own unique perspective.