In the Layers series, each painting operates like the addition of multiple layers from an image-editing software. The working method may also be similar to sampling or collage. Several coats of images and colors are mixed together and confront each other. Real or artistic (sometimes self-referential) visual reminiscences are the material of a work of painting which becomes a metaphor for the processes of thought.

The Background series, a counterpoint to the Site series, uses as a model and pattern the impressionist touch, the basis of modernity. The modesty of its implementation allows for a compulsive and spontaneous gesture. The three primary colors, chosen for their practical and universal nature, and added to white, generate endless possibilities, including one to tend indefinitely to a neutral gray. The color and light exploration is suspended the moment the result echoes pictorial memory. Thus these reduced-size paintings, mental sketches, become a possible evocation of details of historical paintings, details which may be recomposed or decomposed: water lilies, Flemish skies, neo-classical paintings.

Under an expressionist or kinetic show display, the Site series paintings are at times manual reproductions of enlarged automatic drawings. The intention, tending to an impossible indifference, allows the creation of an invisible composition through a subtle reframing which induces the off-field, the infinite.

The brush use causes the meeting of two gestures. One lives in the other, feeds it and revitalizes it. The simulated black, a deep neutral gray, intensifies the paintings flatness.This autonomous, almost autarkic system reveals fragments of unconsciousness and expresses the immanence through flux transcription.


(…) What is aura? A peculiar web of space and time: the unique manifestation of a distance, however near it may be. (…)

Works, volume 2, Walter Benjamin

(…) Visible and mobile, my body is a thing among things; it is one of them. It is caught in the fabric of the world, and its cohesion is that of a thing. But because it moves itself and sees, it holds things in a circle around itself. Things are an annex or prolongation of itself; they are incrusted in its flesh, they are part of its full definition; the world is made of the very stuff of the body. (…)

Eye and Mind, Maurice Merleau Ponty

(…) For all is a plenum (and thus all matter is connected together) and in the plenum every motion has an effect upon distant bodies in proportion to their distance, so that each body not only is affected by those which are in contact with it and in some way feels the effect of everything that happens to them, but also is mediately affected by bodies adjoining those with which it itself is in immediate contact. Wherefore it follows that this inter-communication of things extends to any distance, however great. And consequently every body feels the effect of all that takes place in the universe, so that he who sees all might read in each what is happening everywhere, and even what has happened or shall happen, (…)

The Monadology, § 1, Gottfried Wilhelm Leibniz

(…) At seventy-three, I began to grasp the structures of beasts, insects and fish, and of the way plants grow. If I go on trying, I will surely understand them still better by the time I am eighty-six, so that by ninety I will have penetrated to their essential nature. At one hundred, I may well have a positively divine understanding of them, while at one hundred and ten, I will have reached the stage where every dot and every stroke I paint will be alive.

Katsushika Hokusai