I believe that art exists to touch the heart, stimulate our curiosity and develop a critical mind.
But before any of this can happen, I must master the chosen genre and technique. I have an idea that, arising in my mind, demands to be expressed in light, shadow and colour. Once the visual concept has been made a physical reality, my task is done. Now the viewer stands before the art work, his eye drawn to something beautiful and mysterious in it, and his mind immediately poses a question.
Let us take as an example the oil painting “Les Trois Grâces”: three young women stroll through a rural landscape in what seems to be early morning. The central figure is reading a book, while her companions appear to be listening and pondering her words. The viewers, would like to know who these serene women are, and what text they are contemplating. From an aesthetic point of view, one notes the quality of luminosity in the simply clad female figures and rolling hills. These qualities have been achieved through long and painstaking study of the methods used by mediaeval painters, in particular the preparation of a gesso background to receive the pigments. It dawns on us that the harmonization of the hues and the impression of inner light have begun to answer our initial question.
The ink drawings present a different set of queries and concerns. Here everything is rendered in stark black and white, an aesthetic that mimics the style of woodblock prints. Crisp lines and bold areas of inked or bare paper render space and volume, and even suggest colour. The beholder, challenged by the human figures and the long-necked birds, wonders about these passionate gestures performed before blackened suns. In this manner, the mastery of the technique, its potential as well as its limits lead the artist in a completely different way, but towards the same goal: to touch the heart, awaken curiosity and stimulate the mind.