Breakdown Report

A first layer is worked either monochrome or polychrome. Then this first layer being dry, I cover it with small pieces of crepe paper adhesive. Juxtaposed in such a way as to create a relatively large interstice which then, once the surface is painted, barely covered with these adhesives, I again pass color either monochrome or polychrome. The next phase consists of removing the adhesives. The reserves left by the locations of the adhesives will reveal the monochrome or polychrome undersides and will thus intervene optically on the second coat of paint. These reserves therefore play the same role as the dark spots on the leopard's coat. I cite this example more particularly because it is the one that I most often have in mind when I prepare a new canvas. These reserves are therefore points, stains, the whole of which "frames" the upper layer to the point of disturbing the reading of it as a whole. This is Camouflage: painting on a form of other forms to the point of bursting its characteristic silhouette and this thanks to an intelligent choice of color. Poorly done camouflage is not only useless but harmful. 

I never forget that a painting is part of a relationship with the gaze. Its perception depends its interpretation, its future. My painting is made to be seen (or addressed to the gaze) but this perception takes place at a dialectical level of the gaze. I see, I no longer see, I believe what I see but what I see, is it what I should see etc…

Receiver Father

Father, 7 o'clock."