helped and influenced me. Since
I live only 19 miles from central
Paris, I also visit the museums there
and some galleries. And today, of
course, there’s the internet. I think
that, even without realizing it, we’re
all immersed. Some exhibitions
have particularly affected me, such
as those of La Tour, Chardin and
Vermeer. It’s a tricky question to
answer definitively, but I'd say that
I’m attracted to paintings in which
the main interest is the light.Q: I’m curious about your books.
A: I have Patrick Martin’s book
Natures Mortes au Pastel. I like his
still lifes. I remember having read a
lot of Les Natures Mortes by Norbert
Schneider, and D’apres Nature by
Claudia Salvi, which was about
French still lifes in the 17th century.
I also have a book on trompe l’oeil
paintings by Jacques Poirier. Still,it’s undeniable that the internet is
a formidable source today.Q: You have chosen Pinocchio’s
character to tell your stories in pas-
tel. Did you read a lot as a child?
A: No, strangely enough. As a child,
I didn’t like reading much. On the
other hand, I was very dreamy, very
solitary. I could play alone for hours,
not unlike today actually.Q: Where do your ideas come from?
A: I can’t really say where my ideas
come from. One idea sometimes leads
to another, and everything can be a
source, so I’m always receptive. For
example, at the last exhibition on
Caravaggio at the Musée Jacquemart-
André, I was struck by his portrayal
of Saint Jerome with the two sheets,
white and red, draped against a black
background. Now there’s a fine inspi-
ration for a future Saint Pinocchio!RIGHT
Frame Storm
(12½x163⁄₅)
BELOW
Fire on Board
(122⁄₅x189⁄₁₀)“I can’t really say
where my ideas
come from. One
idea sometimes
leads to another,
and everything
can be a source,
so I’m always
receptive.”
42 Pastel Journal OCTOBER 2019