My work in painting can essentially be qualified by the aesthetic of diversion that I develop within it. By re-appropriating a multitude of images, icons and pictorial approaches, I explore the possible discrepancies in representation. The popular icons that occupied an important place in my earlier works have progressively been replaced by images that have more to do with my everyday experience. This has considerably changed the narrative content of my work. This new narration borders on auto-fiction and it contributes more importantly to the singular meaning and affect of my work. In these recent paintings, I probe a more instinctive interiority and subjectivity that allow me to better reinterpret the specific subjects that are represented. The works are treated with a colorist approach, and in them, a strange and intimate world is staged in which images take the shape of allegories that question our relationship with existence.
I use digital technology at the initial conceptual stage of creating my images and I am also influenced by recent preoccupations in conceptual aesthetics. I am particularly interested in the creation of spaces that fluctuate between being bidimensional and tridimensional, as well as the difference between representation in painting and in digital photography. Even if my images sometimes limit on illustration, the importance of the material aspect of painting remains primordial to my practice.
I am especially attentive to the effects that are produced by the way works are positioned in an exhibition space, whether it is a single painting, a diptych, a polyptych, a mural or a painting installation that is being exhibited. I am particularly interested in this aspect, and I emphasize formal arrangements and the creation of unprecedented narratives that result from the ways in which different works interact with their exhibition spaces.