THE JACOB LADDER IV
CREATION DATE: 2020
DIMENSONS: 180 X 180 CM
SUPPORT: CANVAS STRETCHED ON CHASSIS
TECHNIQUE USED: ALGORITHM, ACRYLIC, INK, PIGMENT, VARNISH
THE JACOB III LADDER
CREATION DATE: 2020
DIMENSONS: 100 X 140 CM
SUPPORT: CANVAS STRETCHED ON CHASSIS
TECHNIQUE USED: ALGORITHM, ACRYLIC, INK, PIGMENT, VARNISH
THE JACOB II LADDER
CREATION DATE: 2020
DIMENSONS: 160 X 200 CM
SUPPORT: CANVAS STRETCHED ON CHASSIS
TECHNIQUE USED: ALGORITHM, ACRYLIC, INK, PIGMENT, VARNISH
JACOB’S LADDER I
CREATION DATE: 2020
DIMENSONS: 160 X 200 CM
SUPPORT: CANVAS STRETCHED ON CHASSIS
TECHNIQUE USED: ALGORITHM, ACRYLIC, INK, PIGMENT, VARNISH
David
CREATION DATE: 2020
DIMENSONS: 100 X 100 CM
SUPPORT: CANVAS STRETCHED ON CHASSIS
TECHNIQUE USED: ALGORITHM, ACRYLIC, INK, PIGMENT, VARNISH
TSIMTSOUM
TSIMTSOUM IS A CONCEPT OF THE KABBALA. MY WORK IS ECHOED THROUGH THE FIGURED RADIATION OF LIGHT. THE WHITE, THE BLACK, THE EMPTY, THE FULL. A PAINTING THEREFORE BEFORE TIME, ANHISTORIC.
CREATION DATE: 2019
DIMENSONS: 80 X 80 X 4.5 CM + 150 X 150 X 4.5 CM
SUPPORT: SYNTHETIC CANVAS STRETCHED ON ALUMINUM WOODEN FRAME
TECHNIQUE USED: PIGMENT INK, BLACK STONE, ACRYLIC
The sacrifice of Isaac
CREATION DATE: 2020
DIMENSONS: 160 X 200 CM
SUPPORT: CANVAS STRETCHED ON CHASSIS
TECHNIQUE USED: ACRYLIC, INK, PIGMENT, WATERCOLOR, VARNISH
Space erases noise
CREATION DATE: 2019
DIMENSONS: 160 X 200 CM
SUPPORT: CANVAS STRETCHED ON CHASSIS
TECHNIQUE USED: ALGORITHM, ACRYLIC, INK, PIGMENT, VARNISH
vera icona
In her most widespread version, Véronique is a pious woman from Jerusalem. Moved by compassion when Jesus Christ carried his cross to Golgotha, she gave him her veil so that he could wipe his forehead. Jesus used it and then returned it to him. The image of his face had miraculously imprinted on the fabric. This is an acheiropoietus image, non hominis manu picta; literally: not made by human hands. Remember also that Véronique (VERA ICONA) means the true image.
CREATION DATE: 2019
DIMENSIONS: 160 X 200 CM
SUPPORT: CANVAS EXTENDED OVER THE CHASSIS
TECHNIQUES USED: ALGORITHM, ACRYLIC, INK, PIGMENT, VARNISH
stations
This set of paintings is a narrative line that consists of 14 paintings, all in the format 180 x 180 x 4.5 cm. Each table deals with a station. Its composition is worth in itself but is part of the whole, the story of the Stations of the Cross. The work of composing each painting is therefore linked to all of the 14 Stations. The paintings are shiny, with a satin sheen. They show the metamorphoses of a play of light in chiaroscuro.
Ghostlamp
CREATION DATE: 2019
DIMENSONS: 100 X 140 CM
SUPPORT: CANVAS STRETCHED ON CHASSIS
TECHNIQUE USED: ALGORITHM, ACRYLIC, INK, PIGMENT, VARNISH
1 + 1 = 1
CREATION DATE: 2015
DIMENSONS: 130 X 260 X 4.5 CM
SUPPORT: GALVANIZED STEEL
TECHNIQUE USED: PAINT WITH LIQUID CRYSTALS AND ANGLE OF VISION, VARNISH
ink clouds
ciel, dégradé, nuage, rayonnement
CREATION DATE : 2017
DIMENSONS : 160 X 200 CM
SUPPORT : CANVAS STRETCHED ON CHASSIS
TECHNIQUE USED : ALGORITHM, ACRYLIC, INK, PIGMENT, VARNISH
dawn (serie)
Dimensions:200 cm x 160cm
THE PROCEDURE IS ALWAYS THE SAME. I WAKE UP BETWEEN 4:30 AM AND 6:30 AM. IT DEPENDS ON THE SEASON. I RUB MY EYES SO THAT PHOSPHENES APPEAR. I NOTE WHAT I SEE WITH EYES CLOSED. I PAINT IT. ALL TABLES ARE THE SAME SIZE: 160 X 200 X 4.5 CM
shooting stars
Paris, 2013
The viewer sees appear gray dots that sparkle at the intersection of the white lines.
This is not real. Everything is perception of the viewer.
Acrylic paint, stainless steel
Variable dimensions: 300cm x 150cm
french window (serie)
Villa medici, Rome, 1992
1 projector projects a strip of light blue on blue monochrome.
1 other projector displays the same band of the same blue on green monochrome.
2 Profile spots, 2 monochromes,2 blue filters, matt acrylic paint
Dimensions of each monochrome : 200cm x 200 cm
B. (série)
Paris, 1991
3 paintings, forming an angle with the wall hook, are placed on the floor
and separated from each other by 2 cm.
The two projectors each projecting a square of light on three black paintings.
2 squares of light so for 3 rectangles of pigment. The light is absorbed
by the black paint making the little glowing light.
She has also hit the white wall producing very light lines.
The painting color and lines are the same color but different tone.
2 Profile spots, 2 yellow filters, 3 black monochromes, black acrylic matt
Dimensions of each monochrome: 140 cm x 140 cm
Tirant
Tirant is a series of six paintings.
Tirant in french is understood in the sense that we say, for example, that green is more yellow than blue.
This series presents my first manifesto on color.
There is no pure color. Color is a still another color.
The color is spectral. This is both a space and a ghost.
Here, one projector projects a first square of colored light on a monochrome
letting an edge of 5 cm on the paint. 1 other projector projects a second square of
light of another color that is perfectly superimposed on the first square.
The colors mix. The controller varies the intensity of the projectors.
When a projector is at full power the other is at its lowest.
The perception of color is going to take all the steps of mixing the two colored lights.
This is done in a very slow time for a contemplative space. The color is immaterial.
2 profile spotlights, 2 filters, 1 programmer, 1 monochrome matt acrylic paint
Dimension of each monochrome: 200cm x 200 cm
Ad (serie)
Paris 1991
1 Paintings, forming an angle with the wall hanging, is put on the ground.
The projector projects a square of colored light on the black painting.
The light is absorbed by the black paint makes the little radiant light.
It was like seeing a very soft velvety pigment color.
1 Profile spot, 1 gelatin, 1 black monochromes, black acrylic matt
Dimensions of monochrome: 150 cm x 150 cm
IM
Le Grand Palais, Paris, 1990
1 projector projects a line of blue light on the monochrome White.
1 other projector projects a square of red light to cover the entire surface of the white paint.
Layers of colored light superimposed.
The color is immaterial.
2 profile spots, 2 filters, 1 white monochrome matt acrylic paint
Dimensions white monochrome : 200cm x 200cm
Albers
Medici Villa, Rome 1992
1 painting shows black square on a blue background. 1 profile spot projects a square of blue light
on the black square overflowing on the background of blue paint.
Black absorbs blue light while the blue pigment reflects the blue light strong.
Colored light splits.
This gives the impression that the light comes from behind as if there was a hole in the painting.
When a viewer passes between the profile spot and painting
it casts a shadow circumscribed black square. This reinforces the perception of a window.
1 profile spot cut, 1 filter, 1 painting, black and blue acrylic matte
Painting dimensions: 200 cm x 200 cm
uriel (serie)
dégradé, rayonnement, reflet, verre
Paris, 2004
3 plates of colored glass come to settle on a monochrome mural painting.
The color of the glass and the color of the mural painting mix.
The viewer never sees the true color of the painted wall.
What the viewer sees is neither in the glass nor in the paint.
It only exists in the eye of the viewer.
Glass plans actually projects colored light on the mural painting.
The strength of this projection depends on the ambient light.
This creates very subtle gradients, intangible and totally impossible to do by hand.
Dimensions of each glass plate : 210cm x 1.2cm 210cmx
series B : fugitive
ciel, dégradé, nuage, videoprojection
Paris 2002
“Series B: The Fugitive”
HD surveillance camera near a window, films the sky in real time, day or night.
Video capture is video-projected on the monochrome.
It brings the sky inside the pictorial device.
The sky is on the wall. It is the sky that painted the painting, which colors the color.
One can thus see the rain, the moon, sunsets produce color variations.
Dimensions of a monochrome 240 x 180 cm
1 video projector
1 HD surveillance camera
Série A
White on white reproduction
Paris 2002
“Série A” is a white monochrome painting filmed in real time and video projected on itself.
Painting merges with its reproduction. Reproduced White disrupts the white paint.
This produces an visual echo. A Larsen optical effect.
Nothing is white anymore.
Dimensions of a monochrome 240 x 180 cm
1 video projector
1 HD camera monitoring
the green ray
Paris 2001
Collection of the City of Paris
2 sheets of colored glass are placed in inclined Plan on a white wall. A yellow glass and blue glass.
The glass projects a yellow colored light on the white wall. The blue glass projects a blue light.
The intensity of the projections depends on the ambient light.
It appears a halo of green light. This color does not exist.
Just look behind the glass plates to realize it. The green halo is not there.
What the viewer sees is neither in the glass nor in the white wall.
It exists only in the eye of the viewer.
The green ray is immaterial and totally impossible to do by hand.
Dimensions of each glass plate: 210cm x 1.2cm 210cmx
dub (serie)
Paris 2002
A monochrome painting is filmed in real time and video projected onto itself.
The camera gives and displays the time and date of the capture video.
Painting merges with its reproduction precisely dated.
This produces a visual echo. An optical Larsen effect.
The passage of time changes the composition of the painting. The numbers change.
Dimensions of a monochrome 240 x 180 cm
1 video projector
1 HD camera monitoring
coin
Paris 1998
1 colored glass plate is placed on a monochrome wall painting.
Painting and glass form an angle. This creates a closed space for the movement of people
but open to light. The drop shadow of colored glass colored the painting.
What the viewer sees is then neither in the glass nor in the paint.
It exists only in the eye of the viewer.
It depends on ambient light.
This creates very subtle, intangible and totally impossible to do by hand gradients.
Dimensions of the glass : 200cm x 200cm x 1.2cm
dimensions of the painting : 200cm x 200cm
Glam serie S
Paris 2001
Glam S Series is the smallest version of Glam. It proposes a physical experience of light different from that proposed by Glam. It is a light trap that can be manipulated. The viewer can speed up the process of color variations.
Dimensions: 60cm x 60cm x 60cm
Glam
Paris 2000
Glam is a kind of telescope whose space would resemble a tunnel
that would let only pass light.
We do not see the same from both sides of this space.
The color impression varies with changes in daylight.
The color space is always in motion.
Dimensions: 220cm x 220cm x 600cm
White acrylic matte, glass.