Alongside my series on forests, I wanted to create a series on the city. The Parisian women became the focus. In contrast to the forests, where the chaotic vegetation resists any formalization of vision, this is an apologia for form that draws me in here with these passersby caught in the mineral verticality of the city. For the ideality and abstraction of form are fundamentally urban. I understand that this famous landscape seen upside down, which opened Kandinsky’s path to abstraction, naturally led him to the geometric and mineral harmony of his later works.
