My practice begins with a surrender: that of the drifting gesture. In the form of an hypnography, the line bursts forth in a meditative fluidity—an automatic writing where the hand becomes a seismograph of the invisible. Without figurative intent, this dance upon the matrix seeks pure rhythm: a line that coils and unfolds, saturating or liberating space in an original, graphic breath.
Once this linear network is traced, my work shifts toward a quest for embodiment. It is about giving a ‘body’ to the skeletal form. Through the monotype technique, I deploy a cosmogony of colors and textures that is never mere decoration, but a vital atmosphere. By playing with transparency and density, I create a context where the line can finally breathe, or at times, struggle.
The background becomes the ether where the line, once a simple curve, transmutes into a dynamic and tangible force.
My ambition is to modulate the ‘voice’ of this very line. Depending on the chromatic setting I offer it, an identical stroke changes its semantics: it becomes, by turns, the violence of an eruption, the murmur of an underwater current, or the density of an organic fiber. I track that tipping point where graphic design leaves the realm of the sign to become sensory energy, metamorphosed by the light and depth I inject into it.
I favor the square for its radical neutrality and its ability to abolish the horizon. This format imposes absolute immersion, forcing my ‘hypnographs’ into a circular density. Energy bounces within it, condensing without ever evaporating, shifting the focus from the surface toward the abysses of the composition.
It is within this perimeter that the encounter between two worlds is sealed: The textured chaos of the monotype, unpredictable and carnal, and the order of the line, a spontaneous framework that structures the dream. My process consists of dressing the void so that the line, draped in its atmosphere, is no longer just a drawing, but a vibrant presence that speaks directly to the senses.