Biography
My active practice drawing and vector shapes.
It is daily. Every day I prospect for technical inventions that impose themselves in the form of automatic writing. The Rotring, with its 0.1, 0.2, 0.35, 0.5, 0.7 tips, the ballpoint pen that I glean or buy.
The black stone, soft, hard, of course ......
My active practice drawing and vector shapes.
It is daily. Every day I prospect for technical inventions that impose themselves in the form of automatic writing. The Rotring, with its 0.1, 0.2, 0.35, 0.5, 0.7 tips, the ballpoint pen that I glean or buy.
The black stone, soft, hard, of course ...
There is also the tablet (an iPad) with these amazing applications that allow you to draw on a screen with other potential accidents, trials and repentance. The gum and the stump that makes the mayonnaise rise.
Support is also fundamental. I start from my collection of paper, cardboard (a few cardboard boxes that rot in the garden), plastic surfaces, packaging ...
Either they welcome the drawing and the sensual experience, or they become shapes to be drawn by skilful cuts. I chisel these shapes at random in search of the right curve, the balance between the inflections ...
They are “shapes to draw”. Once cut, they serve as a punch to compose. I call it my drawing machine.
Caress the leaf, gently, hard, by touch, by opportunity, to bring out the sculpture (all sculptors are draughtsmen).
I work in series. It is the format of the collected paper that imposes the composition.
I like to compare these drawings with materials from nature that I collect in herbaria: leaves, petals, bark. Put in absorbent sheets or in old mottled notebooks, they become sources of inspiration, textures that I maroufle and which give another occasion for shapes to be glued or drawn.
In addition, I practice collages, which are made of sophisticated assemblies. Drawings, natural materials mounted on paper or cardboard, shapes to draw and scotches (collection).
