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Some thoughts

I seem to need three things to paint: instinct, intuition and the subconscious. Another story of "triptych" ...




















What is the estimate of my work?


     "In your opinion, how much are the 'X' years of artistic commitment worth,  time and material investments, incalculable risk-taking, the (all relative) quality in the realization, etc ... a loaf of bread, certainly organic but a loaf of bread anyway,  or 10,000,000 € (sic)?

     If you are looking for my rating  on the art market, it is currently "0"; that being said, it doesn't mean that it will stay there forever, at "0", and neither would it interest me if it goes up ... But ultimately, who is the  better placed to estimate my work?  Knowing that you are going to buy a unique piece , I await your opinions on this  very delicate question ".

A little moment of shared mischief ...  with sculptor Richard Stobienia.

Photo by Marwana.

In the light of a painting by Pierre Beaufils.

Photo by Marwana.

A few words shared ... in company

by sculptor Jean-François Maubert.

Photo Marwana.

"What makes you want to do what you're doing?

I  don't know ... and you?

... no more.

All the more reason to continue! ".

nb:     algae / fungus / lichen

       artist / gallery owner / public ...

       3, three, III ...

What do you think, me?
I don't know, you.



Félix Valloton, Switzerland           painter, engraver, fashion poster artist ...  

                                                he too had  several strings to his bow, was it really  a problem?

Leonardo da Vinci, Italy         painter, inventor, engineer, anatomist, scientist, humanist, philosopher ...  

                                                he, too, had several strings to his  arc, was that really a problem?


Did they only have friends? No ... then all is well, and: "Bold little one!".

The sacrificial act ... of its necessity by its acceptance.


       The sacrificial act is a passage  obligatory  which allows the painter to go where he needs to go. It is possible, probable, even  constant that a painter, an artist, is obliged to cover part or all  of his canvas to go to the next step  : "Hey! Yes ... It's a shame, I had worked so well!", Except that "well done" is not "having finished his  work "(even if one day it would be). It is a deontic passage:" I have no  no choice. I must welcome it into me and let it transform me ".

       One question remains: "What drives an artist to do what he / she does?".  


Do you think so?


        And ... kindness, do you know? Human beings go to their destinies. Do they have any idea of  who  are they, really? A picture comes  in mind ; they have a "sure" idea of yours, they know.

        The cat is looking at me. Things are simple, just the right amount and that's it.

     I have less and less time to waste ... "The exit door" approaching, frankly, do I have anything else to do than what I'm made for?  However  don't expect too much. Right now  I am here! 

      Three triptychs ... and why not more? Desire and creativity are always there; this limitation in the number is only a question of space in the workshop, but soon, in my new place ... in the meantime, I'll let you watch this series of three. 

     It is very astonishing to notice that in a single triptych, the eye will be attracted more by one of the paintings composing it.  

    When two triptychs are made and placed next to each other, this time the eye will not be attracted by one of the six paintings but by one of the two triptychs.  

    Now, if you put three triptychs next to each other, the eye will prefer one of the three triptychs without having the desire, or even the possibility, of not looking at the other two. They become inseparable from each other. A balance is created without any other intervention, and perhaps even without the direct will of the painter.  

     Is it at this moment that the work, the works, would live on their own? 

     When does the painter decide that a painting, a triptych, is finished? Nothing allows us to say it once and for all; several elements come into play: the state of the moment, the look after several days or even several weeks, months, years of retreat, an evolution or an involution, etc ... the obvious, irrational thing.  

    All these reasons are for some of them conscious but for most of the others (?), It is quite different and it is probably good. 

     Yesterday evening, with a friend, B., we talked about the delicate and, oh, how problematic subject of the framing and / or the assembly. We found together a new look on the subject where the framing and / or the assembly, by this desire for the triptych to be highlighted,  become integral parts of the work.  

     There should not be the paintings on one side, and the framing and / or the assembly on the other, all the constituent elements form an "architectural" whole in an aesthetic search. The one, the element, allows to pass to the others, the elements, by a subtle game of "bridges" (re) linking them. Perfect circulation must be established.  

     Below, a demonstration (to come) to illustrate these words. 

  A piece of yourself ... over there.  


         A hyphen is created, ipso-facto, as soon as a  of my triptychs, once finished,  goes from my house to the "other" house.

A very strong and very intimate relationship sets in and lives on its own without the help of anyone between her and me, between him and me, between them and me ... between  us, it is the, the collector (s). This word is beautiful, collector, because it defines a person who likes what he has, it is something other than a buyer, a customer.  

         Knowing that a piece of oneself is shared, is welcomed elsewhere, is an indescribable sensation, very intimate,  intoxicating, sensitive ...  but it is by no means a "puzzle-like" fragmentation, on the contrary, it is an additional link, an ramification which is created; Maybe we should be able to start talking about some form of ubiquity, right ?!  


 Should the artistic object be forever, or should it disappear with its beautiful death, naturally? 

  There is no point in leaving on time ...  


        Leonardo da Vinci would have painted  between twenty and thirty paintings.  

        Some people think (or "do"): "There is no point in starting on time, you have to run!".  What if we took  its time ... what does it matter ?! "Anyway, I can't help it." 

 I learned a lot because I was very wrong, and I continue to learn a lot. 

  I am not a researcher but a "finder".  


         Although the name seems poles apart  it would be, perhaps, the same activity: commitment in time, reflection, permanent questioning, never being enough of a result ...  

         Despite everything, there would be, maybe, some differences: you have to invest everything yourself, both in material and in time, there is a good chance that your sufferings will be very thin at the beginning, for a good while or even  your whole life. But anyway, you keep going. Why? Only you know ... or not and it's not the most important thing, the only thing that is, is to keep going. 

  1 + 1 + 1 = One.  


  "I only paint triptychs; it's not a fad,  it's  one makes the "III, 3, three ...".  Yes!  But why ?  Here are some answers to begin with:  

   I °)   the "I", for the: 0, white, left, place, positive, nice ...  

   II °)  the "II", for the: 1, black, right, reverse, negative, bad ...  

   III °)  the "III", for its part, has the chance to include all the other facets of reality, and as our world seems more complex than what the "binary" offers, then ... 

  A triangular relationship (s)  


         To be a Painter is to embark on a path that requires you to  take a stand in relation to three  points:  

    I °)     to be a painter:   to claim to exist as such, you have to paint ... not only from time to time and whatever the conditions. An artistic commitment ... this  is not a hobby, it must be a necessity, it must be vital.  

   II °)   the support:     the sole function of  the object achieved must be the stimulation of the senses in order to create emotions  in  tending  towards an aesthetic perfection, both objectivity and subjectivity of which are relative.  

   III °)   the public:     accept to deliver his work in order to "see him live without your help", while being  able to  to receive  all returns ... if of course, respectful and constructive forms are used,  then anything is possible.  


        However, other points should not be overlooked either:  

    IV °)  Contrary to popular belief, artists are above all hard workers. "A hundred times on the job, the book you will deliver"  (inspired by  N. Boileau).  

    V °)  "It's easy?!". So don't hesitate ... there is room for everyone.  

    VI °)  ...  

    VII °) ... ". 

  Obviously ... and yet ...  


        Do not wait for "his" disappearance to ask him very "living" questions; from there (up), he doesn't think he can answer you. 

  Survival & Safe Life.  


       During a  conversation with a doctor friend (FD), this one made me discover the principle of  survival by "inseparability", in  the association of an algae and a fungus: the  lichen ... the two are inseparable to exist.  

       During a nice conversation with a gallery owner (DP), with whom a collaboration is in the process of  to be born, I understand that the symbiosis  who  we  united could be  same  order  than  that  of  lichen...  a  survival  through  "inseparability"...  the two, artist and gallery owner,  would also be inseparable in order to exist?  

       In the first case, the biologist was necessary to carry out this  scientific discovery. In the second case, the audience will be  necessary  for  to give  all  her  raison  to this "existence  artistic".  

       Nature should make us meditate on many things ... 

  I paint, where you don't expect.  
  You live, where I don't expect either. 

  Abstract art or Rorschach test?  


        Abstract art with this singular  : it is and must remain so.  


       The painting  abstract  has its roots in large part  in our  unconscious, she is supposed to allow  to create an opening for the person who contemplates it and who must not seek any figurative element  (snail, iron, tractor, fruit salad ...) . The very foundation of this pictorial language is… abstraction. And yet, everyone is free to see what they want  see it.  


       Let's go look in a technical manual  what we find in a poem  ?  


       Whether it is the painter or the contemplator, it is important to be able to  afford a space of freedom to  not thought  in order to create in us what  the inaccessible  offers,  offer. This psychic faculty can be called  (I hear the detractors react)  the  let go , the  play the game , the  let go ...  the  I put everything down and I don't hold back anymore , says Pierre Desproges. 

How to say...


       About my painting, to try to talk about it, to put these famous (...)  words: there is an all in this almost nothing or almost nothing in this all. Is it a need to talk about it? Surely not.  So why not give it a try ?!

Fantasy would make people talk, but above all it should make people think.

I burrow deeper and deeper into the bowels

of my nature from which I extricate myself.

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