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This space is the privileged place of my work, the thin film through which I see the outside world and on which I make my appearance.

My gaze from inside to outside or what I give to see to the other, the transparent skin on one side and the screen next to each other, they are two converging lines of my work.

All times are achieved on the skins and their casts, shells and crusts, adornment and illusions, the identity and role.

What I see from the inside that are lines and slots, gestures pencil, pastel, pencil or eraser, allowing light between brands.
From the outside I see it gives the surface, the smooth material, cracked, wrinkled, crumpled ...
What separates the two worlds is the skin, the screen, the screen ...
What separates the skin and molt, the scar and the crust, the skin and the film, life and death is the passing of time.
From testaceous shell, the shell shield, cocoon shell, camouflage, the skin is fragile and translucent way of self-acceptance - of me, and I am willing to see leave.

From black to color

What I understood black has evolved, as and discoveries. At first it was the symbol of death. I was fascinated by the men and Tollund Grauballe, found in peat in Denmark. The skin was as tanned, with the pores and hairs, wrinkles natural fingerprints still visible after 2000 years. In the photo black and white skin shone like graphite, but from there to cover myself in black there was necessarily anything else.

Three years after the first black designs, I discovered at the Museum of Man fossils that resemble them. Chance or another? The fossils came from England, more specifically, where I was born in a region of coal mines.

Peat, fossil, coal ...
The black belly of the earth ... ...

The miners, after a day's work in the coal or coal, were returning home, face, hands and clothes covered with the dust and black satin. Part of their pay was set hebdomodaire coal delivered to the door. Coming home from school I was often on duty to pick up a pile a ton before you can walk out the door. There were large pieces, small as they were found at the mine. Some were large enough to make sculptures, but it was very crumbly. At the point where it broke the black lacquer was brilliant as the dust of a black cloth. It was the coal dust throughout the area with oily soot in the air and the low sky overcast days prevented them from flying. Then a black cloud droplets and oily tombaientr on the laundry to dry!
Peat, coal, anthracite, graphite are things with all the members of different ages.

When I speak of my drawings I speak for all my works, And when I talk about my drawings my drawings in black is more black. The graphite black, lacquer, plastics, acrylic, pencil fatty Ceramics reflects the light and the eyes. The French and the dye ink is played with iridescent surfaces and divert interest. The oil pastel, dry pastel, black chalk, charcoal are dull and absorb the light and the eye. So in the dark there are several strata or layers. The set of two black plays on the depth and surface, the absorption or light reflected acceptance or refusal.

The graphite black on the skin is metallic but both soft and powdery. It emphasizes the material, wrinkles, grain. We do not see what is directly behind the interior but lets see.

There is a work of white marks on the paper before the dark, above, below and inside the sheet with tips, cutters, pencils hard through the leaf with needles. There is wrinkling, ironing, changing the anchor or holding the paper surface. Some brands of paraffin, oil, pastel, white, white wax to protect the paper. All that was invisible, full of matter, appeared by adding black. So I add more layers, this time around the epidermis, the screen. The preparation of the invisible structure of the epidermis is already in place, leaving fields free obsessive gesture, scribble of black. Rub on paper, graphite will leave hollow blank, will accentuate the bumps, will shine on the materials it will always remain dull on the surface. But the materials by matt cons always slip on graphite, fall into the trough and remain behind.

By virtue of being worked in its structure and strength of doodling to get the deep black or smooth paper deforms. The flat design is a design volume. The brilliant leaves traces of black and white as the ambiguity of a concave or convex. Is it inside or outside the acceptance or rejection?

Behind the black, there are also transparent materials, the skin on the screen. I used the bladders of pork, sausage casings, tracing paper, tissue paper, covered with transparent materials graphite powder. On one side is black, shiny and opaque, the other by transparent light is seen between the traces of doodling. Sometimes the strips are sewn together. Wrinkles? Strips? I do not know but I discovered that all this work was to my waist.

With the reach of light is the duality of black and white, shadow and light, right brain and left brain. White is it front or behind? To give the viewer the white form, but the interior is the slit of light to which I am drawn to the shape being drawn by the black.

The work evolves with me both in time and in the mood. Place on the wall becomes the intellectual work on my work is my skin, my self-respect and inner meaning. Place on a chair is my dress, no need to mention is that of appearances. By land it is the shroud or moulting. The same work can be several things at once. As black is both mourning and fertility, lack of color or the sum of all colors, the negation or synthesis.

There are always layers, height, width, thickness, front, behind or in the skin or screen. I do not want to freeze either in the vertical (intellectuality, spirituality) or in the horizontal (the life of the senses, time).

With the passage of time, there is separation of molting, exfoliation, scaling the walls of the shell are refined, revealing more and more color and warmth of life. Through slits or what is sometimes industries, the forms are less clear, the gestures of more separated, more airy, white powder to a few lines to blur a little light, a light frame for erasing the fixity, the real take off.

Plus I approach the clarity, the more I'm in color. As and when the display is refined, I see the distant blue horizon, the deep blue or attract the eye without a problem.

From black to color
From the belly of the earth to the light
Of all colors combined with the clarity of color singular
From black fertility blue infinity.
September 2005
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