Imperceptible changes, slight variations, transitions to another luminosity: fluctuations appear out of nowhere and we can only make them out them if we pay attention to the subtle forms they take on.

It is these fluctuations, these deferments, these suggestions which stimulate my perception and which struggle to find a place on the surface of my paintings. Sometimes they “fade-in fade-out” as in the diptychs and triptychs where space unfurls and dissolves, or sometimes they take the form of unexpected harmonies materializing on a single canvas. Here, light is diffused in shimmering flurries full of melody; it is never completely limpid, as luminous echoes interplay with the unfolding of time. The different shades of the chiaroscuro vanish softly into the distance to gradually leave room for these intangible fluctuations; nothing disappears for ever as it may always come back.

When a landscape opens out before our eyes, we are confronted with a time and space which are outside of reality, a kind of void into which we are tempted to plunge and lose ourselves. Thanks to painting, landscapes can unfurl boundlessly on the canvas and are never the same. By using different supports the way we look stretches out indefinitely before us and follows twisting and turning paths, the air seems to circulate better, the reflections are mirrored in various waters and the horizon is never fixed once and for all. Thus, the way landscapes transform themselves in front of our very eyes can be seen in the pictorial form used. We experience the same sensations in a car or a train; this epitomizes the aesthetics of fleeting impressions, of ceaseless transformations as opposed to that of immobility and the picturesque.