ArtistsNetwork.com 45which I consider of little importance to a “well-fi nished”
piece. What I propose is certainly realistic, but reworked.
I don’t want the result to be interpreted as a photo; there-
fore, I strive to convey that everything is done by hand.
Your work seems to reside at the border between
the realistic and the abstract.
I’m happily a representational painter, even if at times
I veer, intentionally, toward abstraction. Nature is prodigal
and off ers an infi nite variety of subject matter. Th is reality,
even when one distorts it a little, constitutes the best ref-
erence system to my eyes, as both spectator and painter.
Th e subjects, whatever they be, are just pretexts. Th e sole
and true subject for painting always remains painting
itself —and the pleasure derived from it.
What’s the genesis of your creative inspiration?
Why do you paint?
Ever since I was very young, the concept of beauty has
appealed to me, and it continues to fascinate me. Early
on, I started searching for beauty in art, frequenting
the Louvre and its library. By the time I went to college,
I believe I’d already seen all of the museum’s sculptures
and paintings. Later, during my studies, I discovered
ceramics, jewelry, furniture and other cultural aesthetics.
As an adult, I pursued knowledge and tried to under-
stand the world in which I lived—paying particular
attention to nature and the stars, and the history of man,
from its earliest beginnings to the present day in this
globalized planet. As much as I had begun to admire
humanity’s performance and its artistic, scientifi cGlycine Japonaise
(watercolor on
paper, 15¾ x11¾ )