Statement

I question the foundations of the support within painting, by playing with and disrupting the elements of the picture plane. I find a narrative in the way a painting has been made and I am always questioning the mechanisms that build a surface. I want my work to be a bodily experience for the viewer, both physical and retinal. Painting triggers a tactile gaze; it is a place of materiality.  I want the surface to tease the eye and intrigue the mind with its tactile and volumetric subtleties.

My practice is an experimental production: each painting carries or destroys previous ideas. The process of making produces a residue, informing subsequent works. I’m not attached to a form but the condition of its emergence. Therefore, shapes and patterns shift from one technique to another.

I explore the limitation of the frame and the nature of the surface through different devices such as collage, painting, sewing, wood cut-outs and freestanding elements, challenging the way painting is traditionally constructed.  For instance, the wood painted cut-out allow me to extend the picture plane out of the frame, straight on the wall.

I play with the thickness of the picture plan by using a transparent substrate. There is no longer a foreground, mid-ground and background, because the wall and the stretcher are revealed as an active part of the picture plan. Each layer applied on the surface create a shadow on the wall, creating a depth, indicating the thickness of the support. I paint on both sides of the material: this rotation permits me to avoid the preconception of the final result. Questioning the process of making and revealing the three dimensions of the tableau: the image depends on the standing point of the viewer.

The work undergoes a blind construction and manipulation of materials from their original purpose. The structure and the wall become a part of the overall construction of the image. The surface is ambiguous, elements are missing, overlapping or veiling another gesture, this play between different application of the paint invites the viewer to question the way it’s been made.

The elements of the different devices are knitted together in the sewn paintings called Assemblage. This process of montage allows me to create a new surface with elements that hold their own temporality. By cutting out a fragment of a gesture I question the chronology of the making. Shapes and patterns shift from one painting to another appearing as one immediate image.

Painting is a mode of construction lead by the eye-hand couple. It is a door-window: we go in, we go out. From the manual to the tactile space; it’s a tool to materialise the dialectic between seeing and touching; doing and knowing.  The surface is porous, whereby the unveiled or concealed elements remain active. Layers and overlaps act as the operation of memory: by strata.  Like an iceberg, what reaches the surface is only a small measure of what exists beneath.