Following my residency at the Fondation Claude Monet, this series aims to reaffirm the existence of a porous frontier between figuration and abstraction, of which Claude Monet was one of the first explorers and on which I propose to work. While in his Nymphéas he pushed his study of nature to the limit of abstraction, I propose a contrary process starting from abstraction to progressively closer to a figuration of natural forms.

In practice, this will have me embark on a disappearance of shape and contour: the optical vibration here comes from liquid cracks that are difficult to describe: the upper pictorial layer is stretched to the point of utter decay, revealing camaïeu of lower layers. By this process, whose potential I am only beginning to explore, I get to work with acrylic paint as one would with oil, i.e. by applying successive layers and transparency.

A century after the realization of the Nymphéas, jI can feel a historical link between the avant-garde of Monet, the American Expressionism that stemmed from it and, finally, the pictorial technique used in the realisation of this series. My approach is certainly very different from that of the Impressionists, but similar, nonetheless, in its foundations: exact representation is neglected, with the focus lying, instead, on the phenomenon (an optical phenomenon among the Impressionists, a biological phenomenon in my case).