The source of my creation is based on human emotion, I expect the canvas to move me. My writing is moving towards a painting that appeals to this sensitivity, through this inner journey that my canvases trigger. I am in perpetual search for this emotion and I never stop until it has appeared to me.
Of my years in Algeria, it was first of all the desert stretches of the Sahara that marked me the most because until the age of eight, I spent my school holidays in southern Algeria (Djelfa). the events of Algeria and the exodus of a whole people, whose tears I did not understand, are certainly for a lot in the construction of my sensitivity.
In 1995, I met a plastic arts teacher who taught me different techniques, but above all made me discover the world of art. After two years of learning, I acquired a certain technicality without more, and continues to smear color on large areas of canvas. When I was going to stop there my pictorial experience, believing that I had toured what painting could bring me, a sort of revelation like a new birth was going to happen.
Alone in the workshop, in front of a large canvas (150×120 – Karstique, Musée de Frontignan), something that I do not know about, would reveal itself to me.
With each brushstroke, with each color change, I felt a kind of euphoria. The canvas was assembled intuitively almost despite myself. Something was happening, I know it seems hard to believe. I had to reassure myself, find the answers to all the questions that invaded my mind. Then began a period of two years of introspection, self-analysis. I went to the Sète media library every Saturday to discover the history of art.
I visited many museums. I met other artists, some renowned such as Pierre Soulages in order to know if they had lived the same experiences, this one would say to me, these words, «you felt what creation was and now begin your search , I am 80 years old and I am still looking ».
Following this initiatory journey, an artistic process was born.
And to make it pictorial, I had to undertake another technical research.
In some paintings, we can distinguish a graphic expression where the color that composes them seems to be structured around the line. If we must name the influences of the masters that I recognize, it is first of all the canvases of the Impressionists that come to mind. Just as I feel a particular affinity with the canvases of the precursor of this movement – Turner – in which the line comes to give just the right amount of figurative structure to the color and the light that emerges.
Throughout my work and my journey, I have moved away from drawing as a structuring element of my paintings. Turned to a more sensitive and intuitive approach to color and its interplay of transparencies. So, I’m looking for experiences, to be in front of the paint, in front of the canvas and by extension,
the Experience of being in the world.