Mes compositions s’organisent à partir de croquis papier scannés, puis retouchés avec un logiciel de dessin. Ce processus de nettoyage et de choix dans les différents éléments à ma disposition me permet d’élaborer un assemblage graphique que je propulse sur la toile à l’aide d’un projecteur vidéo. L’étape suivante consiste à reproduire au crayon de plomb cette image, puis ces traces sont travaillées à l’acrylique. Dans ce processus de création, l’écriture automatique est déterminante. Elle est l’instrument privilégié de ma quête d’une dramaturgie picturale imaginaire. L’exigence centrale du lâcher-prise mental devient le moteur permettant la cristallisation organique sur la toile, d’un univers onirique où l’inconscient trouve un espace privilégié pour se confronter au réel. À la lumière de l’essence dramaturgique d’où origine la matière de mes spectacles marionnettiques, la théâtralité onirique de mes toiles est, elle aussi, porteuse de fables dont les aléatoires fils narratifs pourront à loisir être reconstitués par l’imaginaire des visiteurs. Rassemblées sous le titre de Dramaturgies oniriques, mes toiles questionnent, au travers des fables qu’elles contiennent, un monde subissant d’importantes mutations culturelles, identitaires et technologiques et dont la COVID-19 n’est pas absente.
The raw material for my Dreamlike Dramaturgies originated from the psycho-affective environment in which I was immersed during innumerable professional and union meetings that addressed determining cultural and social issues, demanding constant vigilance on my part. Numerous graphic scribblings (over 200) thus emerged, scattered throughout my notebooks reserved for these meetings spanning more than 15 years of university activities.
Uncertain emanations of my subconscious, giving rise to a form of Art brut (“raw art”), primitive art, comprising protean drawings that I then exploit in my paintings. In this creative process, free writing is a determining factor. It is a most important tool in my pursuit of a phantasmagoric pictorial dramaturgy. Creeping into the unleashed actions of imagination where everything is permitted, or almost, is a subtlety of execution, whose precision brings to mind the art of illumination, contrasting with the libertarian intention of the realization, and planting the seed for its chromatic materialization.
The central necessity of mental release becomes the driving force behind the organic crystallization on the canvas of a dreamlike world where the subconscious finds an ideal space to confront reality. As a painter and playwright puppeteer, I question, without concession, what fable to accomplish in a world undergoing significant changes in terms of culture, identity and technology. Akin to the manner in which dramaturgical essence is fundamental to the substance of my puppet plays, the dreamlike theatricality of my paintings is also a conveyor of fables whose random narrative threads can be refashioned at leisure by the imagination of the observer.

My compositions are based on paper sketches that are scanned and then reworked using design software. This cleaning up process, which also permits me to choose from different elements available, enables me to develop a graphic assemblage that I project onto the canvas with a video projector. The next step consists in reproducing this image in pencil, then working over the pencil traces in acrylic.

Mes compositions s’organisent à partir de croquis papier scannés, puis retouchés avec un logiciel de dessin. Ce processus de nettoyage et de choix dans les différents éléments à ma disposition me permet d’élaborer un assemblage graphique que je propulse sur la toile à l’aide d’un projecteur vidéo. L’étape suivante consiste à reproduire au crayon de plomb cette image, puis ces traces sont travaillées à l’acrylique. Dans ce processus de création, l’écriture automatique est déterminante. Elle est l’instrument privilégié de ma quête d’une dramaturgie picturale imaginaire. L’exigence centrale du lâcher-prise mental devient le moteur permettant la cristallisation organique sur la toile, d’un univers onirique où l’inconscient trouve un espace privilégié pour se confronter au réel. À la lumière de l’essence dramaturgique d’où origine la matière de mes spectacles marionnettiques, la théâtralité onirique de mes toiles est, elle aussi, porteuse de fables dont les aléatoires fils narratifs pourront à loisir être reconstitués par l’imaginaire des visiteurs. Rassemblées sous le titre de Dramaturgies oniriques, mes toiles questionnent, au travers des fables qu’elles contiennent, un monde subissant d’importantes mutations culturelles, identitaires et technologiques et dont la COVID-19 n’est pas absente.
The raw material for my Dreamlike Dramaturgies originated from the psycho-affective environment in which I was immersed during innumerable professional and union meetings that addressed determining cultural and social issues, demanding constant vigilance on my part. Numerous graphic scribblings (over 200) thus emerged, scattered throughout my notebooks reserved for these meetings spanning more than 15 years of university activities.
Uncertain emanations of my subconscious, giving rise to a form of Art brut (“raw art”), primitive art, comprising protean drawings that I then exploit in my paintings. In this creative process, free writing is a determining factor. It is a most important tool in my pursuit of a phantasmagoric pictorial dramaturgy. Creeping into the unleashed actions of imagination where everything is permitted, or almost, is a subtlety of execution, whose precision brings to mind the art of illumination, contrasting with the libertarian intention of the realization, and planting the seed for its chromatic materialization.
The central necessity of mental release becomes the driving force behind the organic crystallization on the canvas of a dreamlike world where the subconscious finds an ideal space to confront reality. As a painter and playwright puppeteer, I question, without concession, what fable to accomplish in a world undergoing significant changes in terms of culture, identity and technology. Akin to the manner in which dramaturgical essence is fundamental to the substance of my puppet plays, the dreamlike theatricality of my paintings is also a conveyor of fables whose random narrative threads can be refashioned at leisure by the imagination of the observer.

My compositions are based on paper sketches that are scanned and then reworked using design software. This cleaning up process, which also permits me to choose from different elements available, enables me to develop a graphic assemblage that I project onto the canvas with a video projector. The next step consists in reproducing this image in pencil, then working over the pencil traces in acrylic.