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statement
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Learning a language, the alphabet, vocabulary, expressions, composition, the color of a language, its texture, its idiosyncracies, its nuances, is quite similar to learning the language of painting. It is the challenge of attaining fluency and achieving communication and communion.
Composing a canvas is not unlike the way one composes one’s life; a journey along paths, a decision at each crossroads and the experience of meetings of chance that orchestrate the course of one’s life.
In my work I want to impart a feeling of alienation, of isolation. For personal reasons, I want to perpetuate the memory of Auschwitz. But there is always a message of hope.
The choice of color, its application and juxtaposition, allows for an openness, a light which comes from the depths of the subconscious.
I deeply love painting. The true painting of Rembrandt, Turner, Van Gogh, Monet. The supreme universal language, the true emotional message, defying time and space. And also, contemporary painting in which we can identify ourselves thanks to Soulages, de Kooning, Pollock, Rothko, Giacometti, Frankenthaler and Kline.
I deeply love riding the invisible line, so dangerous, where the painter finds that fleeting moment of equilibrium to work his canvas.
It is a constant fight between the canvas and the artist. A misplaced line, an inadequate color, and the canvas is lost. If, by chance, the artist takes advantage, the result becomes catastrophic. But when the communication is total, when the union is complete, the painting becomes emotionally charged. Pleasure and happiness, so ephemeral.
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