Eight months ago, I was presenting my second soloshow “ESSENCE” at DavidBloch Gallery, in Marrakech.
Morrocco is a very inspiring place, it plays a key role in the evolution of my Art and Self. As before, I stayed around 40 days in the old imperial city, living and working in the medina, inside the walls of the Kasbah. There, Time dissolve into some other perspective. More flexible. That enable me to create many new canvas one after the other, A sort of tribute to the genesis, a documentation of the evolution of the mind, body and soul during the process of Creation. From the intention to the chosen realm.
Last year, somewhen blured in Time, I had the amazing opportunity to discover a continent I never been to before.
Australia, and the desert of Pilbara. A place that holds the memory of human consciousness. A place were linesongs are being sang for 40000 years. A land were invisible is tangible. Somwehere you can hear the memory of Vibration.
Here are the words out of an interview with Sharmila WOOD from FORM Gallery :
“I arrive in the places that I travel, empty, so that I’m able to learn something for real and leave something for real; this is the opportunity you have in a journey.
Last year, I was not much in my studio since I was on the road most of the year…but when coming back to Madrid, I always enjoy to paint when I got time and will for it. Always expecting to discover more of who/what I am at the present time. I try to really see, no to lie, just to assimilate, accept my inner feelings about my outside context…and leave the line tell me who I am in the now.
The truth is my friend Dr.Rafael Schacter asked me to create an artwork representing the map of my city, Madrid. I tried to throw some lines and words on a paper about where I live…but when the virgin canvas was hanged in front of me, I could only see body lines, sensual, organic, in movement. I couldn’t work on the cold structure of a city,
While I was in Newyork, I’ve been proposed to realize an indoor mural for a great Mexican restaurant in Soho. I was just coming back from Cholula, a town in Mexico litterally built on a pyramid, on which was then built a Church, over which I seen a large rainbow while I was painting a Jaguar. I was there, on the otherside of the fence, at the frontier of the ancient Temple.
So hopefully, in Newyork, I’ve been able to create a colored version of the jaguar previously borned in Mexico.
Let’s talk about Cholula’s magnetic attraction first…
Meanwhile I was in touch with HOLIDAY magazine for the interview, I’ve been introduced to Aurelie Biderman who came to my studio for a chat and offered me to create a mural for the new store she would open in Lafayette street, downtwon Soho. I proposed to create something diferent, and we met David, a great artesan from Beacon.
I took the train by the river and went to work with him for a few days cutting fresh clay and seeking color alchemy in his studio.
David was placing fresh ribbons of clay of 50x70cm, I would cut them with a knife, smoothly, trying not to hurt the clay since she has memory, and would distort if being to rough. I eventually found a great pleasure when having the hand driving the blade softly through the soft matter.
Once the Cup Queen appear, the masculine side of the whole was called. I stapeled another sheet of paper on the wall and stared at it for a wild. Waiting for the Sun that would face the Moon.
I first drew the line of his front becoming his nose, following to his lips, until the chin of a face, looking up, on the left. I then seen his chick flowing to his left ear, then closing the edge of his skull in a smooth curve. On the bottom part, his expression chacra open in the shape of an eye.
When I create. Sometimes past pass by and try to claim his place. Someother time, futur just show up on the paper, as a sign, or a door, a possibility.
Most time, I draw the present.
The continous large lines, the Curve, consciously moving through the page, allows the piece to evolve in a larger timespace, and so to represent a larger period, a sort of evolving instant. If once the lines are chosen the representation of the period you where in seems and instant rather than a journey, the process of drawing each curve in one fluid gesture feels like expressing a huge field of unrevealed possibilities.
Here is the Queen Anrami, Reina de Copa.
I just seen the face of this woman birth, and loved her smile.
As her structure grew, I realized the global piece would miss information on the upper left corner, so I had to guess what she would hold in her hand, or what would be around her, what her context would be…
So here I am assimmilating a bit more of who I am, writing few words about what I felt, seen or did…if some of you read the earlier posts about “The Art of freestyle”, one know I love the line, for its instantaneous factor, emerging truth of the ego, of the “I” in the “Now”.
So I often start with the line that draws the profile of a face, a sort of reflect, a witness. A referent. And I see what I couldn’t before, I trust what I would have doubt, thanks to my hand moving on the paper.
While in Madrid between the journeys through Earth, I took a gouache marker and drew lines after having forseen them in the white empty space, so that someone would appear in front of me.
It´s been around a year I haven’t took time to write about what I lived and created. I’ve been traveling some, and focus on where I was as much as possible.
Somehow because of the internet being a time thug, and also because I needed to juxtapose informations ino rder to fuse a global understanding. Or maybe just for lazyness…or because I’d rather go out or paint than be in front of the computer.
But hopefully someone did part of it for me. Indeed, last year, the atelier Frank Durand contacted me because they were interested in featuring an interview with me. I had the pleasure to meet François Musseau et Matthieu Salvaing who came to visit me this summer, in my studio, in Madrid.
ART AS A REMED(Y) is the title Francois choosed for the interview. L’Art comme Remède. Because Art is made to cure. To remember, to recognize, to oversee, to understand, to question, to tell, to heal.
Long time ago, when I use to live with my parents, there was an image somewhere home, that I loved to cross sight with. I used to see a monkey, but it slowly became a Lion. As my inspiration was blured by the will of my hand.
LE LEONOGONE. Wax on canvas. 85x155cm. 2014.
I don’t know exactly where it come from, but I think it is from Benin, in Africa. It might be a chimp or a baboon. But I like to see a Lion or a jaguar.