.I paint against the easy accident.
I paint against the trace valued by default, the gesture exhibited as proof of authenticity.
I claim a constructed image, clear, posed, assumed in its frontality.
I seek a cold beauty, non-sentimental.
Not to decorate, but to install a doubt, a distance.
I want the eye to collide with the evidence of a controlled surface, for the gaze to slide
first, then to question.
I choose the smooth not to flee from the material, but to say something else with it.
For the smooth, today, is loaded: it evokes the digital image, advertising, retouching,
the industrial rendering.
I want to divert these codes — by painting this smoothness by hand, loading it
with ambiguities.
Thus, beneath the apparent simplicity of my flat colors and contrasts, I place tensions,
displacements, silent fractures.
I paint landscapes where time seems frozen.
Scenes where the gaze is invited to get lost in a deceptive perfection.
I refuse the picturesque, the folklore.
The port I represent is not a holiday memory: it is a theater of flat colors, a
geometry of shadows and reflections, a mental space.
In a world saturated with fleeting images, I choose the smooth as resistance.
Not to flatter the gaze, but to stop it.
To relearn to see the surface, the composition, the color as fields of meaning.
I paint smooth.
But I paint tense.
