My work oscillates between two areas in parallel: the
traditional painting on a flat support and the volume.
For some years, I have been producing a painting
series Sans titre as well as a series
of objects Reliefs. Two-dimensional
paintings and three-dimensional objects respond to each other, creating echoes.
The relationship between the plane form and the volume
is very important during the phase of cutting the forms from paper; essential
to the creation of all my pieces. It results from an intuitive need to the
space experience.
By exploring these two opposing fields, I try to observe the way we see the
three-dimensional world, its representation, and the nature of space, a
strange, hard-to-define - something between physical and mental space.
In the Reliefs
series I observe our mechanisms of perception by questioning the border between
the flat image and the volume.
Our way of perceiving space and depth,
which seems so natural to us, is in fact a result of our very first sensory
experiences, and so a learning effect.
An attempt to play with our visual habits
led me to replace the usual support for my paintings (paper or canvas) with a
wood board. I literally deepened the dissociation of the background and the form
of my images, cutting out the form from the background and hanging it a few
centimeters from the wall. The forms hover on the wall which in turn becomes
the new background.
In the recent Reliefs I fixed two pieces of wood board one on another. Thanks to
an optic illusion effect its form refers to a fully volumetric object seen in
perspective, while actually it is planar. The traditional linear perspective
slightly distorted causes a visual game questioning the spectator about his
perception.
The thickness of a few centimeters places the
questioned entity in the category of volume. However, it can be interpreted
both as a three-dimensional object, and, at the same time, as an image of the
object in question.
