The painting is a kind of trap. It aims to put the viewer’s gaze under tension, to disrupt his habit, to disorient it, to prevent seeing in a circular manner, and to restore his primal wonder. Through contradictory perspectives, the vertigo of one or multiple viewpoints, an unusual confrontation of colors, it establishes a tension between the referential “real” space and the pictorial space, between the concrete and the abstract, the brushstroke and the form. Only from this tension can presence emerge, if the painting is successful. On this point, I am Cézannian.
