Statement
 

Because I believe that Shadow is the nearest beyond to explore, I use it as a raw material.

 

To make it possible, I substitute glass for canvas.

Focusing on the elusiveness, the threshold spaces as meeting places,  I create installation-paintings using blades rather than brushes.

 

Borrowing certain characteristics from Minimalism and Concrete Art, my research is partly rooted in a cognitive atypia, aphantasia, which refers to the inability to generate mental images. This is why glass, invisible yet tangible, came to the fore as the material best able to isolate forms, while revealing their complexity as "specific objects", to quote Donald Judd.

 

Colouring the transparent material first, I then subtract the paint using blades, so that a shadow is projected onto the parallel or oblique background of my works, installed on the wall, on the floor or on a pedestal.

 

The result of this process is a mise-en-scène in which light, shadow and reflection interact, with the eye completing this dynamic with multiple and sometimes competing levels of interpretation.

 

Playing with its environment, my work manifests a constant tension between appearance and disappearance, probing the boundaries of perception in a discreet challenge to our claim to be able to read the world beyond preconceptions.

 

Behind this reaffirmation of the observer's position in relation to the work lies a question:

are we ready to leave the utopian space of the painting to inhabit the open space of uncertainty?