Paintings

Black drawings (selection)

(…) I also see the program as a challenge to time. It allows me to satisfy both my bulimia and my need for rumination. For example, the black drawings I’ve been doing for so long come out of a precise program. Their format is defined, as is their technique. They can be assembled in groups, never more than 6, on a 3 by 2 or 2 by 3 grid, like thumbnails on a comic page.

Their subject: anything that impacts my sensitivity: the memory of a drunken evening, a phrase, an image, a vision, a piece of music, a key word, a memory… Collectively, they can be seen as the data recorded in the black box of my trajectory. They are then grouped in groups of six on four large, four-pronged turnstiles which, turning on themselves, open and close this black box emulsifying these impacts.

To sum up, I have a few elementary algorithms, some data, an application space and some time. In this space, I feel immense freedom. I call this protocol a “Production Machine.” I don’t have to work anymore, things just happen, so to speak. Then I can get on with my daydreams. (…).

From the interview “Le Jeu de la Vie”, with Gaël Charbau (Echo System, 2015).

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(…) The Black Drawings are painted in gouache using a reserve technique. In other words, anything that appears white is not the result of adding white paint, but of a “reserve” that leaves the paper blank. Shades of gray are obtained by diluting black with more or less water. In this way, the construction of the image is thought of in negative, comparable to silver photography, but also to the casting technique, which projects the reverse side of the forms to be obtained. This process involves thinking ahead about “reserves” and protecting them with caches: paper or latex protections! Over time, these inversion gymnastics have enabled me to integrate the three gestural registers of painting with great precision: the body, the arm and the hand. The domain and amplitude of these three gestures are always to be defined in advance. My practice and my immersion in the constraints they impose have enabled me to develop a layered approach to the pictorial surface. This is particularly true of my work on polyester, which allows me to use the support from the front to the back. It’s vertiginous and fascinating to produce! It disconnects to better connect, with new conductors, new jacks. (…)

Extract from the interview “Les Pas de Côté”, with H. L. (2021).

Paintings