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My visual universe is based on the relationship between geometric shapes and colors. These are the two modes of non-verbal communication universally used since the earliest civilizations, even if their meanings may vary across space and time. In my compositions, elementary geometric forms combine to compose more complex structures and eventually constitute a dynamic and mobile architecture. Then, the chromatic composition interplay with the geometric structure, sometimes to enhance it and at other times to multiply it. The bright colors, assigned according continuity or opposition, reinforce the relief and give vibrations to the whole composition. The visual space thus created offers multiple degrees of reading to the viewer, each viewer finding its own way.
The creation of each work follows a certain number of rules. These determine the geometric structure as well as the choice and the composition of the colors. Some rules never change and lie at the foundation of my visual universe while others are specific to a given work. Some are clearly visible and verbalized while others are more subtle and unspoken. Some rules combine perfectly while others may enter in conflict.
Among these rules, one of them is more structuring than the others. This is the relationship between symmetry and dissymmetry. The basic geometrical structure is formed of symmetries but elements of rupture systematically disturb the original ordering. This structure is also reinforced or challenged by the choice and arrangement of colors. The proportion of symmetry and dissymmetry varies with the artworks but the two elements are always present.
At the end, my artworks are an analogy of life, from the individual to the world. Every human being thinks himself coherent and constant, including in his emotions. Still, our personality and character are also formed on irrationality and instability. Each organization wants to be effective but none is optimal. The world as a whole both obeys immutable rules and a part of chaos. The dissymmetry present in my works is a metaphor of fantasy, chance and irrationality that are part of life.
However, no exact indication is given as how this analogy shall be perceived. Everyone is free to project what he wants, according to his feelings, his personality, his cultural environment or the object of his thoughts. The spectator won’t actually perceive the entire work at a glance. Other ways of watching will follow the first impression. More complex structures will be formed by the combination of several basic elements. Colors will yield multiple associations. The optical space created by the work may vary according to the direction taken by the viewer's gaze or his position towards the work. At the end, the spectator will get lost in the meanderings of geometry and color before finding a vision of the work that is his own and, ultimately, a vision of himself.
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