Encre et aquarelle sur papier -72x59cm - 2008

 

L'idée de départ provenait de ma fascination pour les herbiers, puis elle s'est déplacée.
Dans le même temps, ces verticaux renvoient à des choses plutôt organiques (une clarinette par exemple) et à une forme d'élégance , d'épure , d'élévation.
Cependant, basculée à l'horizontale, la même composition pourra évoquer une idée de paysage déserté ou marin, d'où sourd une autre émotion.

L'idée consistait aussi à travailler sur la distance; une forme miniature de plongeur se trouve par exemple insérée dans une forme, mais on ne la perçoit qu'en étant tout près.

Le protocole fonctionne sur le à partir du chiffre 3 : une forme isolée face à deux formes côte à côte.
Dans l'idée de départ, une forme exprime la nuit tandis que les deux autres le jour ou le crépuscule.
L'intégration de la couleur dans la série s'est réalisée progressivement.

(la série figurant ici n'est pas exhaustive).

 

Ink and watercolor on paper /  28x23 in. 72x59cm - 2008

The serie is born from my fascination for herbal collections.
Those vertical shapes evoque things (a clarinet for instance) as well as a figure of elevation. However, if I lay it horizontally, the same composition would evoque a landscape at twillight or night.
Those drawings are compelling the viewer differently refering to their distance to the piece, because of the contained details included in each shape. The miniature is inserted in a more monumental piece, of which we first percieve only the ensemble rythm.
According to the way we're looking at them - vertically/horizontally - the particular figuration elements will reveal or hide themselves.
This combination is working around the number 3 : Most often an isolated shape is facing a couple of others.
In the starting concept, one shape would represent night while the others would represent twillight or day. Then, the night could be isolated or on the contrary be included in a pair.

The color was not present in that serie from the beginning

Later, the idea came  to reinforce the organic perception by including ponds of flesh and vegetal colors.

In one of them, the split of the shape in three bits ( three landscapes in which there is a bridge in the night on the right hand side)  is questioning the concept in itself. The split refers to a movment oriented to earth , while the coloured shape on the left is more like an upward movment , including air and fire reference.

However the pictural styles of the drawings may be different, the conceptual unity of the ensemble remains, at least as a questionning process. This process in action is tense , refering to the failures in the improvisation , exposing the whole drawing to its ruin like it happened several times.