Artist’s Statement

If you ask me for an explanation about my desire to express myself through drawings, paintings and sculptures, the most honest answer is: I don't have one. On the other hand, I can tell you what would happen if I could not do it for some reason. It is simply a necessity. I think it is a way to narrate what I would not dare to put into words in public. I think of art as an offer of freedom to be ourselves and to undress ourselves without scruples on any stage. And it is precisely because people mock or pity madness when they perceive it, but for some strange reason tend to respect it and even praise it, if that same madness appears in a work of art. In a way, it is also a means of justice.

The difference between a lie and a myth is in the viewer, who is usually more victim than observer. In the way of writing a poem, for example, one can affect the original poetry of a true story, and of course, condemn the truth. In this way I intend a "fantastic" reality, as a pact with the imagination and a duty to the truth. Everyday affairs are often disturbing. That is why we often seek salvation in things that take us away from real life. This could be the origin of myths. So, in this sense, everything could be a myth until art proves otherwise. That's how I like to see it and show it to others.

There are many fun ways to break the rules. Most of these ways are against the law, ethics or morals. So it ends up being a misfortune, when it could be a conquest. So we are left with imagination . . . fantasy, and we prefer to call it magic instead of trick, as a kind of consolation. There are matters you can't talk about without making a fool of yourself. Yet it is madness that I want to put into works of art. Certainly not dementia, but neither poetic ranting, bohemian carefree or demi monde. I wish to delve into the rawest human essence; not like Edvard Munch. But certainly as would El Bosco, Francisco de Goya, Gustave Courbet or Diego Velazquez. With a bit of the masterful and tenebrous style of Gottfried Helnwein and the reckless hyperrealism of Kent Bellows.