With his immense Nymphéas, Monet was keen to enclose and drown his spectators within the painting. Large formats have this quality of making us lose our visual cues that are based on shapes and figures.
The goal of this project was to understand the notion of “informal art”. This universal abstract language is the translation of independent gestures, the rejection of any finished or descriptive form and at the heart of the concept of accidents and improvisation. I wished here to give shapes, not through drawing, but through colour. Distortion and depth bring rhythm to the sometimes opaque, sometimes translucent surfaces.
Zao Wou-Ki’s work was a great source of inspiration for my paintings as he maintains the fact that paint can exist without shapes. The areas of vaporous colours which coagulate, agglomerate, separate and merge onto his canvas seem almost directed by an alchemical formula. His paintings are often named after their date of creation as this unveils his attachment to the present moment and what is experienced at that very instant.