Composed of paintings, video animations, 3D animated videos, painted sculptures, numeric prints, dance videos, my whole work is articulated around pictorial perception and the conceptual idea of painting. According to a syncretic logic, I apply the characteristics of painting to the different media, like a virus, in order to enhance one or several components and get a global vision which we could label « expanded painting ». In a reversed perspective, I apply to painting other media’s components, borrowing, for instance, from photography its quality of focus, blur and texture. I also borrow from computer imagery a precise mastering of the whole image (Gaussian blur, movement blur, scale, contrast and colour changes, etc.). As far as sculpture is concerned, the third dimension confers a frontal illusionist vision to the image (painting’s unique point of view), which can nevertheless be viewed from all angles, revealing the other side of the mirror. Videos play on the idea of pictorial process and the macroscopic approach of a painting’s vision, or are integrated into a performance’s time and movement.
Plastic results are voluntary hybrid, each piece composed of characteristics coming from different media which creates ambiguity as far as the object itself is concerned: one watches a video but it’s painting in movement he sees; one contemplates a painting but it looks like a computer-remade photography.
Connections between the media are established and banish the differences. Getting away from painting by implanting it to other media. Staying within the object “painting” by experiencing its supposed characteristics. By accumulating proposals, paradoxes and ambiguities become masters of the game.
Present specific statement
Historically, painting was the first attempt to represent reality by way of the image. By the historical study of perception and image production, we can affirm that painting has always been confronted to technical evolutions (optical with the lens, chemical with photography, algorythmical with computers), and that these changes regarding our apprehension of what is real have engendered a profound evolution as far as the conceptual and visual scope of the pictorial medium is concerned.
New techniques of images’ manipulation and creation have altered the idea of reality of the subject displayed by the image. The image is more than ever questionable or uncertain.
At present, my work investigates the closeness of the ‘antique’ form of representation – painting – and the ‘up-to-date’ forms of image production – 3D virtual images and computer-manipulated images. Despite of the different ways of working and of their opposition in terms of what is animated and inanimate, visual as well as conceptual connections exist: the figural painting process and virtual images share a same approach of creation which depends on a re-conception of reality “by way of the hand” (by opposition to the historical basis of photography which rely on the mechanical recording of reality, showing “what was”), they are both the coating of a texture on a surface (on pigmentary and material, the other completely virtual and mathematical).
Paradoxically, my work consists in confronting these two modes of image production in close spaces and open a field of perception located at the border of each medium. The relation to the spectator/visitor is established both in a contradictory and pertinent movement, by the contrast between the effects induced by the video – a definite and fixed (almost totalitarian) movement, and painting, an immobility which offers to those who watch their own time of perception.
body of works
Plastic results are voluntary hybrid, each piece composed of characteristics coming from different media which creates ambiguity as far as the object itself is concerned: one watches a video but it’s painting in movement he sees; one contemplates a painting but it looks like a computer-remade photography.
Connections between the media are established and banish the differences. Getting away from painting by implanting it to other media. Staying within the object “painting” by experiencing its supposed characteristics. By accumulating proposals, paradoxes and ambiguities become masters of the game.
Present specific statement
Historically, painting was the first attempt to represent reality by way of the image. By the historical study of perception and image production, we can affirm that painting has always been confronted to technical evolutions (optical with the lens, chemical with photography, algorythmical with computers), and that these changes regarding our apprehension of what is real have engendered a profound evolution as far as the conceptual and visual scope of the pictorial medium is concerned.
New techniques of images’ manipulation and creation have altered the idea of reality of the subject displayed by the image. The image is more than ever questionable or uncertain.
At present, my work investigates the closeness of the ‘antique’ form of representation – painting – and the ‘up-to-date’ forms of image production – 3D virtual images and computer-manipulated images. Despite of the different ways of working and of their opposition in terms of what is animated and inanimate, visual as well as conceptual connections exist: the figural painting process and virtual images share a same approach of creation which depends on a re-conception of reality “by way of the hand” (by opposition to the historical basis of photography which rely on the mechanical recording of reality, showing “what was”), they are both the coating of a texture on a surface (on pigmentary and material, the other completely virtual and mathematical).
Paradoxically, my work consists in confronting these two modes of image production in close spaces and open a field of perception located at the border of each medium. The relation to the spectator/visitor is established both in a contradictory and pertinent movement, by the contrast between the effects induced by the video – a definite and fixed (almost totalitarian) movement, and painting, an immobility which offers to those who watch their own time of perception.
body of works
vanitas#1 oil on canvas 2005 185 x 230 cm
paintingpainting#11 oil on canvas 2005 200 x 160 cm
paintingpainting#14 oil on canvas 2005 200 x 160 cm
paintingpainting#12 oil on canvas 2005 200 x 160 cm
exhibition view grusenmeyer gallery
black flag oil on canvas 2006 290 x 360cm
studio view
paintingpainting#22 oil on canvas 2006 200 x 150 cm
paintingpainting#21 oil on canvas 2006 200 x 150 cm
paintingpainting#15 oil on canvas 2006 200 x 150 cm
paintingpainting#16 oil on canvas 2006 200 x 150 cm
profil oil on canvas 2006 320 x 200 cm
profil#3 oil on canvas 2006 180x120 cm
Flowers Installation view 150 x 200cm each oil on canvas 2006-7
Drawing 2007 100 x 70 cm pierre noire
watercolor#2 2006 detail
pastel#02 228 x 231cm 2006
watercolor skull as a belgian flag detail
exhibition view
médiatine arts-05
3D movies - installation
HISK
factura
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