My practice is part of a desire to limit the emotional imprint deposited on the canvas. It is a gesture of emotional ecology, which breaks, even before it is born, the sentimental attachment between the viewer and the work. The objective is to essentialise, in the primary sense of the term, the motif on the canvas so that it does not become lost in an interpretative polysemy, by reducing it to a single one of its dimensions in a process of erasure : you see what you see, an inanimate painting, smothered by successive screen-printed impressions in ink. There is no narrative nor testimony. Only inert, dry matter like The Flayed Ox by Chaim Soutine, without the smells or the blood.

I call upon waste : stains, drips and accidents of pictorial or organic origin. This deliberate assimilation with degrading phenomena constitutes the instrument that allows me to access a singular vision : at ground level. My work speaks of form, colour, superimposition, erasure, and despite myself, of feelings, all the more visible because they are concealed and apparently absent.