This new pictorial research emerged from a series of experiments begun in the summer of 2025. After several years devoted to my Relief Paintings, in which marble powder played a central role, I felt the need to let my practice evolve and to open my work more fully to colour, its nuances and its depth.

My two years of training in colour with painter and colourist Bernard Gilbert accompanied this evolution. Gradually, colour became a territory of exploration in its own right, while extending a concern that has long been present in my work: the support itself.
 

I am not interested in canvas as a mere surface intended to receive an image. I see it as a living material, with qualities of its own and capable of fully participating in the construction of the work. Even before colour appears, the canvas undergoes a lengthy process of preparation. Fabrics, later removed, gesso and adhesive are layered and brought into dialogue, transforming the surface in the process. Some areas emerge while others fade; irregularities and rhythms gradually take shape. In this way, the surface acquires a presence of its own.

Colour then comes to inhabit this material, already carrying its own history. Applied in successive layers, it settles differently across the surface, revealing variations in density, transparency and light. Support and colour are no longer two distinct elements: they evolve together and reveal one another.
 

This slow process has become essential to my practice. Spending time with the canvas, preparing it, transforming it, and then gradually accompanying the emergence of colour places the painting within a sense of temporality that is deeply important to me. Each stage retains something of the one before it, sometimes visible, sometimes almost imperceptible.

It is perhaps here that the work connects with more universal concerns: our own relationship to time, transformation and memory. We too are made up of layers, of experiences that accumulate, of things that fade while others endure. Nothing ever remains entirely unchanged: over time, what we experience shapes and transforms us, continually opening up the possibility of reinventing ourselves.
 

My paintings speak of this gentle transformation—of what time leaves behind, alters or reveals. They do not seek to represent a specific image, but rather to create a space in which the gaze can slow down, wander, and experience colour and material on a sensory level.
 

Rather than an image to be deciphered, I would like each painting to be experienced as a presence: a space of colour, material and time onto which each viewer can project their own experience.

 

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