In 1985, during my first exhibitions, I met Édouard PIGNON, the great colorist and friend of PICASSO and the Surrealists. Thanks to him, I came to understand that a painter, rather than painting what he sees, has good reason to paint only what he does not see but longs to see.

I have remained faithful to this credo; my work has evolved toward the purification of forms and colors: the treatment prioritizes visual and sensory impact. My work is a quest for human identity, a reflection of our society that necessarily involves the negation of perspective—a true social cage.

Thus, while today, production and commissions in the visual arts oscillate between responses to collective, state, or corporate and commercial issues; it seems to me that the challenge—for a visual artist—would be to return to a more human, intimate aesthetic; one that can escape the restrictive virtues of the decorative or personalization as artistic added value.

Transversal and multidisciplinary, the creation of art—as a confrontation—must find its path between pop and elitist consumerism.