top La vérité enfin,

La vérité enfin, 2015

150x250x2 cm Silkscreen on canvas (produced by Caza D’Oro résidence d’artiste)

top 2 temps, 3 mouvements

Piece on the question of the systems of representation, on their original place : canvas surface.
This work, at first glance, is a traditional optique all-over surface (like www). However it is questionning,
with the incursion at the bottom of the quote of SPINOZA from the Ethik, “Verum index sui et falsi”, on
the notions of truth and artifice in the history of representation. It is also questioning the moderne,
reinvesting the amrican surface, its ideologies and consequences.

With the optic effects it should be canceling the pictorial surface as a goal,and rise the viewer to the
level of meaning, because we can not look for very long at it. Those are impossible questions....
We can't face it, because of the optical phenomenon preventing it, so that one orientates oneself
toward the text, and the philosophical questions.

The optical and mental illusion, doing physical work out, causes by the dissolution of the still-image, a
form of travelling below the work. By Inflitrating the op-art and duality or laterality of modern surface
with the incertion of variously dated elements, questions the representaion and historical absolutism.

In my research, at the other hand on the decorative and symbolic duality of patterns and
rapprochement art and design, patterns operate in my work as in painting in the Middle Ages, as large
tapestries, or construction of plans and spaces. This is a physical issu, and they are always in big scal
resonating with the architecture as a concrete and active elements (concrete art) constituting the social
space (the place public), pictorial (postponement of the construction of the painting in the exhibition
room) and symbolic space. So they are organized in environments such as old tapestries integrated as
decoration, as physical perception, but also as a key of understanding and meaning, constructive
conceptualy of elements questioning inside the représenation and art in its original place.

top 2 temps 3 mouvements

2 temps 3 mouvements Detail, 2015

200x150x2 cm Silkscreen on canvas.(produced by Caza D’Oro résidence d’artiste). Exhibition view, solo exhibition “Experimentum Mundi”, CCMM du Mas D’Azil, France. 2015.

top SANDWüSTE

Sandwüste, 2014 200x138x2cm
Silkscreen on two different fabrics, sewn together..
(big scale silkscreen : SDW Neukölln, Berlin, 2014, with the support of the Käthe-Dorsch foundation, Berlin)

This two leveld work refers to Goya “the sleep of the reason produces monsters”1797. With an allusive slogan “I have been dreaming” and an optic pattern, its considering an image as imagination, as a process of how an image is forming. The imagination has nothing to do with individual fantasy, but with the power of thinking (Baudelaire on Alan Poe), a faculty that perceives everything outside philosophical methods, secret relations of things, correspondances ... (G.Didi-Huberman).
The freedom to imagine is the one of making critical observations on the world. Like Goya, I made a take of position in a society, reacting to the symbolic desert (Michael Heizer- Bernard stiegler "la misère symbolique") witch we are experimenting in the age of technologies..., holding a mirror.

top Sandwüste (symbolic desert)

Silkscreen on two different fabrics sewn together.
this two leveld work refers to Goya “the sleep of the reason”. With an allusive slogan “I have been dreaming” and an optic pattern, its considering an image as imagination, as a process of how an image or a mental image is forming. The imagination has nothing to do with individual fantasy, but with the power of thinking (Baudelaire on Alan Poe), a faculty that perceives everything outside philosophical methods, secret relations of things, correspondances …

The freedom to imagine is that of drawing up a critical statement on the world. Like Goya, I make a take of position in a society, reacting to the symbolic desert we are experiencing (Michael Heizer, bernard Stiegler la misère symbolique)in the age of technologie, holding a mirror.

top Detail Sandwüste

Sandwüste, 2014 200x138x2cm
Silkscreen on two different fabrics, sewn together..
(big scale silkscreen : SDW Neukölln, Berlin, 2014, with the support of the Käthe-Dorsch foundation, Berlin)

This two leveld work refers to Goya “the sleep of the reason produces monsters”1797. With an allusive slogan “I have been dreaming” and an optic pattern, its considering an image as imagination, as a process of how an image is forming. The imagination has nothing to do with individual fantasy, but with the power of thinking (Baudelaire on Alan Poe), a faculty that perceives everything outside philosophical methods, secret relations of things, correspondances ... (G.Didi-Huberman).
The freedom to imagine is the one of making critical observations on the world. Like Goya, I made a take of position in a society, reacting to the symbolic desert (Michael Heizer- Bernard stiegler "la misère symbolique") witch we are experimenting in the age of technologies..., holding a mirror.

top Sandwüste (white version)

Silkscreen on two different fabrics sewn together.

top Wir sitzen in einem Boot (Flying Dutchman)

Wir sitzen in einem Boot (Flying Dutchman) 2014-15

150mx150mx2 cm Silkscreen on different fabrics sewn together.

top Wir sitzen in einem Boot (Flying Dutchman) Detail

Wir sitzen in einem Boot (Flying Dutchman) 2014-15

150mx150mx2 cm Silkscreen on different fabrics sewn together.

top Wir sitzen in einem Boot (Flying Dutchman) Detail

Wir sitzen in einem Boot (Flying Dutchman) 2014-15

150mx150mx2 cm Silkscreen on different fabrics sewn together.