Exhibition
Du 1er mai au 25 mai 2026
Seeing is an act. Contrary to what the paradoxical “media immediacy” of screens suggests, seeing is an act. The painter knows this well, as he see with the eye joined to the hand. When the painting is successful, I see it. I display it because I believe it can provoke the act of looking. At first glance, the resemblance puts the eye at ease. It deciphers according to its daily habits: it sees without noticing. But the use of imperious, unusual perspective (the “Parisiennes”) or the multiplication of vanishing lines and the confusion of forms (the “Forests”) disturb this confidence: the gaze is put under tension. Tension between background and form, in vertical compression, their possible indiscernibility, tension between the real space evoked by resemblance and the pictorial space that denounces or invades it. Then, the gaze perceives itself acting, being jolted, continually shifted—without easy violence—between figurative and abstract modes, between flatness and illusionistic space: the painting becomes a point of view in tension, a trap for meditation. I contemplate it as much as it contemplates me. It is no longer Alberti’s famous window onto the world or the modern painting’s famous surface of expression; the gaze enters into it. That’s why the size of the painting matters to me: at least one meter by one meter, so that the viewer can immerse themselves. Technique or craft is entirely about gesture: the painter’s hand in the brushstroke, which solicits the viewer’s movement, as they step forward or back before the painting to savor the act of their gaze.