Construction of a biological structure is not creation but a revelation, said Jacques Monod. My approach is inspired by the same process of revealing matter—pictorially in this instance. To achieve this, I set the paint in motion: the process of fluidifying, mixing and spreading it will bring to light its behaviour, which actually mimicks that of body tissues. One next witnesses the growth, development and movements of a quixotic embryo made of viscous paint with features strikingly close to those of the living world
The evolution of the living world continues to push the limits of reality, giving new abstract or unknown forms a very real existence. My paintings are an extension of this logic by which new structures appear (process of appearance that I studied at the Museum of Natural History of Paris; research report available here). Randomness, so indispensable in the evolution of the biosphere, is here materialised by the random movements of liquid acrylic. This randomness emerges from minute variations, which are then added to a programme (genetic or gestural).
The recent advances in development sciences provide precisely their share of strange images, new forms and embryos that seem to us to be abstract despite their very real existence. The spectator is then plunged into an unsuspected reality.
In abstract form, my painting develops a representation of the biosphere—and more specifically, of its constantly diversifying shapes. Thus, by calling imagination into action, the exhibition project provides a novel means of supporting the environment. Because abstract art can also display commitment, these artworks were made to heighten the public’s awareness of the vulnerability of biodiversity and of the urgency of protecting it.