The nobility of people does not come from their social status but from their natural singularity. Despite the stereotypes that lead us to discredit them, it is from this banality that one can create subtle and fascinating works.
Studying nature and observing the world around us is part of our daily routine. And what is more natural than faces and figures? The most profound feature of the face is the skin. One must scrutinize it in every detail and take note of all of its inconsistencies, which are signs of time passing. The pictorial act becomes surgical and mimetic performance of covering the bone structure with the fibers of flesh, pores and hair.
This surgical work of minute figuration leads to the rejection of any idealization. The colors should be so lifelike that modifying one would be obvious. The desire to paint the real person remains predominant—to make a picture of this person and not use them for any other remote artistic purpose.
Lead by the will to remain true to representation, this work fully assumes its documentary aspect.
A photograph is the starting point, an exact copy of reality, representation without experimentation. It isolates what is intended to be reproduced, nothing more.
The canvas then acts like a map that captures the shapes in accordance with an optical code. The canvas as a map does not reproduce a space that can be represented but it rebuilds a new one, it remains open and able to receive modifications. The canvas is the result of a performance more than so called competence.
The artist must seize the opportune moment when the shapes that are put under tensions are stabilized, organized and finalized. A rare moment, a quest without end, because one only makes paintings that one can, not the ones that one would like to.