My work is a playful and artistic investigation into the multiple forms that colour can take within space. Several years ago, whilst pursuing research into signs and pictograms, I realised that light and colour were the hub of my work. Subsequently I stopped using narrative and figurative methods, which served only to justify my interest in colour and concentrated on fully exploring the creative possibilities, while reducing the forms to their bare essentials, so as to highlight this creative process.

The first step consisted of reproducing abstract motifs borrowed from urban, advertising or televisual environments (billboards, brand marks and logos, packaging, or screens) on to standard format canvasses (square, round or tondo). In parallel to this, I began to assemble two and three-dimensional polygonal forms, composed of monochromatic canvasses on triangular chassis. My paintings have become mural objects from which the subject matter, the contours and relief are trying to escape, thereby questioning the art of painting through it’s basic components. I have named them “UCOs” (Unidentified Coloured Objects) after UFOs (Unidentified Flying Objects) because similarly they appear simplistic and mysterious while arousing suspicion as is often the case of pictorial works of art, which do not fit into the classical forms of painting.

Situated somewhere between graphic design, painting and sculpture, these minimalist and modular objects reveal numerous hanging opportunities. Just like individuals, each object leads it’s own existence, while belonging to more complex and varied forms of organisation in which visual perception and space appreciation are privileged, in other words, favouring the relationship between the art form, the beholder and the architecture.

The logical evolution will be to move from the painted object to wall painting, using overflow, reproduction and dripping techniques, thus allowing me to consider the whole exhibiting space as one giant painting in which the art work shall resemble geometric and diffuse spots populating the abstract artist’s composition. I would also like to further jostle the ordinary perception of the pictorial object by placing the motifs outside their original context, the paintings escaping from their hanging structures and the Exhibition it’s self outside and beyond the official exhibiting sites.

From two dimensions to volume

While color remains the driving focus of my experiments, most of my work now clearly shows the shift from two dimensions to volume. I no longer seek to produce a painting on one plane but rather a three dimensional object, made up of colored shapes which interact and move together to form a geometrical structure. It was during the assembly of several of these constructions, that the triangle rapidly imposed it’s self as the perfect shape for this work.

The triangle is the simplest form of polygon with which to define a section of a plane. It serves as a fundamental element for cutting up and structuring surfaces. It is a particularly interesting figure as any shape with jagged contours can be broken down into triangles. The triangular form appears in numerous objects, mathematical or otherwise and is filled with symbolic meanings. Above all, it represents stability, both horizontal and vertical. It is the base for many constructions and has been widely adopted by architects.

At present I mainly use right-angled and equilateral triangles. These shapes allow me to create both two-dimensional chromatic compositions and convex polyhedrons. The majority of my creations are articulated and can be dismantled. This constant fluctuation between two and three dimensions was also inspired by the arts of folding such as Origami and geometrical brain teasers like the Rubik’s cube.


Translated by Anastasia Barret