Land
E scape
Inside, outside, 65X100cm, acrylic, 2012
Now let's focus on your artworks: I would like to start with your project Inside, Outside, that our readers have started to admire in the introductory pages of this article: would you tell us something about the genesis of this project? What was your initial inspiration?
For me pictorial forms are the vocabulary, which allow me to express ideas. I’m in a constant back and forth between what I show and what I want to say. At the beginning of my project I worked on the theme “Vibrations”: abstract works all on energy where repetition was very present. The numeric work of John Maeda at the Foundation Cartier in 2005 of Michaele Rovner spoke to me of loops, of random order, of memories. Reading Gilles Deleuze created a link between these problems and philosophy. From there I looked for something which played between consciousness, sentiments, sentimentality. This resulted in a series on the memory of Corps Morts, then Still Life. I started in dance contact improvisation. The result was the series Inside Outside. The dance impregnated my pictorial process, as much in the carrying out as in the gestural (I should say the opening to the world) and in the themes (the fall, collapse…).
Inside, outside, 97X130cm, acrylic, 2013
the human and social body. With the influence of the dance, I looked for means to arrive at a singular and authentic expression in my painting. To technique, I prefer interior movement, the just and creative expression that comes from it. The object of my approach touches the essence of the body in the relations of others to oneself. One of the features of your works that have mostly impressed me is the liveliness of colours, which gives an inner dynamic to the canvas and moreover suggests such a tactile feature: by the way, any comments on your choice of "palette" and how it has changed over time?
The feelings, the bodies, the otherness took form beneath the seismic of the plates. Strangely the image which came to me was that of tree bark, its texture. The landscape and tectonics have become metaphors for sentiments, consciousness. Accidents of geography, the rift, the abyss, the folding and of unfolding of the earth are as many representations
I try to affirm the presence of the work, its aspect. 60