Through my creations, I work to represent the complexity of reality, by which I mean to say a series of apparitions or events randomly reconcilable to our understanding of the world. My paintings are composed of elements and concepts that I seek to render more or less compatible. While they meet under some circumstances; they are antithetical in others. I question what creates the illusion of proximity or distance, and query the emotional, intellectual, social or personal structures that attempt to bring order to the chaos that is reality.

Through colours, shapes and various ways of relating them, I examine what causes ideas to connect or break down. I play with various degrees of comprehension by using or contradicting certain pictorial precepts. At times I make an effort to satisfy the requirements of a “good” painting; at others, not. My compositions incorporate what is, and isn’t, expected. In sum, my paintings express a will to both construct and deconstruct. I attempt to activate logic in order to subsequently topple it. I seek to keep reflection in motion by making it difficult to come to a final definition.

I believe that I thereby highlight the paradox that links the human desire for understanding to reality, which, for its part, never entirely cooperates. Because I am persuaded that experiencing this paradox reveals itself in a mind that is never completely certain, I try to create the conditions that will lead the viewer from one conclusion to the next without allowing him or her to happen on a single conclusion that combines all.

My recent production, the series Isométries, comprises paintings composed of several canvases, assembled with a slight space between each. The result is a network of lines representing geometric forms in isometric perspective. The series tests the cohabitation of elements that present various optics. Indeed, the perspective that results from assembling canvases in this way automatically positions added interventions in a positive or negative relationship to it. Analyzing certain components of the image, which have their own perspective, therefore obliges one to disregard that of the support. In order for the network of lines that make up the support to be perceived as an integral part of the composition, the support must become a shape without relief. This forces a displacement of attention akin to that of certain optical illusions, provoking discontinuity in our take of the image and rupturing our comprehension of it.