INVISIBLE-N°6

Visual artist, graduate from the Ecole Nationale Supérieure des Beaux-Arts in Paris. Aggregate of Plastic Arts. Born in 1956 in Paris. He begins his journey in the context of Free Figuration, but then feels close to it. with Les Nouveaux Fauves de Berlin and exhibits neo-expressionist painting which, while remaining figural, moves away from narrative figuration. The first Couples (or Duos) establish a dialectical staging within the painting, where Masculine-feminine tensions, dialogue and confrontation, masks and figures, the reversibilities of desire are played out. At the same time, his teaching experience enriches him with decisive insights into contemporary plastic expression and new media, and he better understands the specificities of their work. s of the “painting medium”. Confronted in the Great Couplesà the proof of a figuration which constructs itself, self-destructs, covers itself, because always "too painted" à in his eyes, still too narrative, he opened, from 1993, the way to the Palimpsests which would be at the heart of the artist’s future approach. Long-term work on the « disappearance » of painting, the threat of its ruin, its memory; and where The phenomenological character of the pictorial fabric is manifested, its fragility, as well as its paradoxical durability. Carried by an even more radical process, this problem will then be replayed in the Serie des Brûlées; ce are remnants of hand-painted canvases; resinous oil and preserved under glass, as if preserved for a time from the erosion from which they are already present. carriers. They revoke the status of images and become a kind of “skins” pictorial and pathetic, but which never cease to represent us again. In 2009, a major retrospective took place. Les Esselières Conference Space in Paris Villejuif demonstrated this approach. It was a decisive experience to question the nature of painting, the painting object and their relationship to the figured body. To this day, the Palimpsests continue the open path and are revealed to the public as a counterpoint to the different series (Duets, Solos, Curiosities, Survivances, Invisibles... ). Building on this experience, the artist claims a figuration nourished by « disasters » that she went through – as out of time– even archaic, ever more anchored in the physical substrate of painting and which attests, ultimately, to an always possible return to the painting. The figuration becomes one with the material and structures the pictorial sheet, where the haptic dimension is inseparable from the image and the sign.