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Jacques Monod expressed the view that “the construction of a biological structure is not creation but a revelation”. My approach is inspired by the same process of revealing matter—pictorially in this instance. To achieve this, I set the paint in motion: the process of fluidifying, mixing and spreading it will bring to light its behaviour, which actually mimicks that of body tissues. One next witnesses the growth, development and movements of a quixotic embryo made of viscous paint with features strikingly close to those of the living world.

The evolution of living organisms never ceases pushing back the boundaries of reality—bringing new abstract forms into very real existence. My paintings are an extension of this system whereby new structures come into being (I studied this development at the Paris Muséum d’histoire naturelle). Randomness, which is so essential to the development of the biosphere, in this instance takes the form of the random movements of liquid acrylic paint. This randomness induces in nite variations, each of which contributes to a common (genetic or gestural) programme.

Recent progress in developmental science has provided us with a batch of strange images, new shapes and embryos that seem distinctly abstract despite actually existing—plunging the beholder into unsuspected reality.

In abstract form, my painting develops a representation of the biosphere—and more specifically, of its constantly diversifying shapes. Thus, by calling imagination into action, the exhibition project provides a novel means of supporting the environment. Because abstract art can also display commitment, these artworks were made to heighten the public’s awareness of the vulnerability of biodiversity and of the urgency of protecting it.

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(2018)
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I am at present experimenting with the integration and employment of rhythm within the painterly gesture, transforming the painter into a dancer. Although tempo might not be visible within the timeless space of the canvas, the forms generated by my movements are the tangible manifestation of tempo. Through the vigorous projection of paint I superimpose and mingle different layers of liquid. One line of paint slips under another and this is sufficient to make something emanate out of nothing.

And suddenly in this arduous nowhere,

the unutterable place, where the pure too-little incomprehensibly mutates,

throws itself into that empty too-much.” 

- Rainer Maria Rilke

The mechanical interactions of liquids vary according to the rhythm to which they are subjected. Up to a certain point of tension, the paint resists and stretches. Beyond this point, it breaks is submerged by another layer. From this pictorial subduction emanates a fringe that intercedes – and sometimes ruptures – in the midst of the void.

Like a black hole, the space of my canvas creases and hollows. It becomes disturbing.

How is it possible to animate the paint without inhibiting its progression? I initiate the inception of phenomena by pouring paint, stretching it or splattering it and I want the beholder to be immersed in the manifestations of its evolution.

Abstract canvases foreground a method: not to have a subject, not to calculate but to develop, to generate.”

- Gerard Richter

Left to itself, matter is an irrefutable witness: this is what paint is, this is how it moves and reacts when animated by a phenomenon… Of what does it speak? Maybe of nothing more than of paint itself. My work is not the abstract representation of something material, of an emotion or of anything that is familiar. It makes no reference to anything identifiable. It is barely evocative. It speaks, rather, of an elsewhere. And demands of the beholder the action of creating a world that does not exist.

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(2017)
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Dance is at the origin of my pictorial practiceAs a student at the École de Danse de l’Opéra de Paris spent seven years studying the nuances of gesture and deconstructing movement in order to understand its expressive powerThis corporeal and choreographic grounding served as an impulsion when, in 2011a serious illness induced me to turn my attention to paintingMy approach has always beenfundamentally the same, whether in dance or in painting.

 

For me, the action of painting can be equated with choreographyWhile painting,I effect a rhythmical movement over a canvas which iplaced horizontallyMy body is fully involved in the gestureMy mind also participates, in the same way as when I dancedI retain a precise memory of the conscious and interiorised study of dance.

 

Other reflexions have now come to enrich this initial approachWhile studying for my master’s degree in biology I became aware of the confluences between dance, painting and the living worldThe variety of movement in nature (organic, physical andgeological movementis connected, for me, with the expressive potential of dance (the movement of the bodyand of painting (the movement of the pictorial matter). I explore these three registers in a convergent and non-distinctive mannerin the continuation of certain approaches developed by other artists:

 

the choreographer Wayne McGregor and his reconciliation between dance, the visual arts and biologyhis choreographic appropriation of recent discoveries in neuroscience;his choreographies based on the movements of atoms (“Atomos”);

 

lyrical abstraction, which focuses on the ways in which the abstract language achieves expression through the employment of a gestural writingThe work of Olivier Debré in particular is fascinating to me in that directly confronts dance, as in the creation of sets for Carolyn Carlson’s ballet Signes;

 

Cai Guo-Quiang’s subjection of matter to the elements; his pyrotechnic artworks which exemplify the expressivity arising directly from physicochemical forces;

 

The greatest master in this list will always be nature, an inexhaustible source of creationScientists are currently examining the appearance in nature of forms or motifs that can be characterised as artisticMy goal is to explore such manifestations in painting, with the ambition of a converging vision.

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(2016)
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My dancing years at the National Paris Opera undergo a true revival all through my paintings. With an approach resembling action-painting, I seek to instill a movement to my artworks. Fundamentally, my approach is the same, whether in dance or panting.

I am convinced of the many synergies that exist between Science and Arts. For this particular reason, I deliberately chose to conduct research projects in Biology and a career as a Painter simultaneously. On the whole, these works lead me to consider the frontier between life and inertia as tenuous and porous, still relatively unexplored but at the same time holding one of the greatest expressive potential. I believe in spontaneous appearance, whether environmental or on a canvas, of aesthetic and evocative forms. I seek to produce this phenomenon. Acrylics, when diversely liquefied, can adopt attitudes close to these of organic or geological tissues.

In its own way, could Art be bringing an answer to the enigma of the emergence of life on Earth?

My work offers an exploration of this birth process and a research on the way matter (hence, pictorial) is liable to come alive in evocative attitudes. As a spontaneous expression of an intimate energy, dance can become an echo of the movements that life creates. When dancing, I see life arise again in each of my paintings. There is a connection between dance and biology, between the danced movement and the physiological movement, which artists such as Wayne McGregor, perhaps the first one, experiment in choreography. This is what I would like to express through painting.

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(2015)
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My work is intended to be a pictorial representation of the world as a whole, in different forms and on different scales (microscopic as well as spatial). The world moves in a hazardous and  disorganized way, giving it, for me, its beauty and eloquence. Its way of shaping and moving is irregular and unpredictable, so evocative.

I am exploring the expressive possibilities of acrylic set in motion on a flat surface (canvas). The processes in action on my canvas are the reproduction of those of the universe: rotation of stars and planets, formation of river beds, erosion of mountains, waves breaking, wind blowing, living cells growing, etc. My method  approximates the “gestual abstraction” current (“action painting”). It is a tribute to hazard, the spontaneous movement, and what they bring. I submit acrylic to disorderly forces that agitate the world, build it and destroy it. Everyone is invited to recognize in my work the world that surrrounds us.

As a ballet dancer, I feel that the interest of the movement is in its expressiveness, and especially subtle shades that  give it its living character. My current work explores the potential of expressive movements formed by mixtures of colors, curves and inflections, sagging, twisting slides and smears. Thanks to an essential physical contact with the paint, they acquire an organic feature driven by the human anatomy, desire and physical spontaneity. With the impulse as central engine, my work becomes “libidinal” and “sensitive” in the sense intended by Jean François Lyotard.

The concept is paramount, but aesthetic remains first. I alternate between its artificial and natural forms, leaving the beautiful dawn of hazards while calculating a retinal pleasure, a “pictorial enjoyment” that neurology theorizes and Optical Art explores. An artistic process is at the border of chance and calculation.

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(2013)
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