. . At first glance the painting looks like decorative
art because of the motifs distributed on a white
background — imagery which moves to the forefront
with its colour and luxuriance. However, as one
approaches, it secretes a strangeness which remains
with the viewer long after he/she leaves the gallery.
Some of these images appear to be flowers, but are
they really? — they are a play on transparency
and bluriness, making subtle references to adulteration
and organic components — at times they are
very much like human tissue.
The artist uses these flowers as a pretext to play
with the unmixed colours. The organic changes of
the colour intermingle on the canvas, bursting and
pouring out into coloured plasmas that tumble and
swell in a sometimes dangerous way.
At one point the painting evolves into an epidermal
pleating and at another it looks like a network
of vessels, cellular tissues or veining.
With straight stems, drawing a slender or curled
curve, the plants gain a bewitching power which
is conveyed by the artist’s enlargement of
Poisonous or carnivorous, these "harmful"
flowers remind us of the faded petals of the "baroque
Vanités" which begin to take over the
space as well as the spirit of the viewer as he
moves closer towards them. New textures and blendings
of colour emerge in these dynamic paintings which
dissolve into disquieting worlds, very remote from
the initial reference to the innocence of beauty.
In reference to the Supernatural panorama triptych,
in Etats d’Art, bulletin of the Friends
Society of Arts | la Chaux-de-Fonds, Switzerland,