Artistics Techniques

i-My Paintings

Shapes and Material

I am often in search of new techniques to bring life to my creations. Some paintings are the result of an architecture formed from assemblies of fragments of chosen colors, taken from previously created paintings. This is the case with the works "VITAMINE" and "VEGETALTHERAPY". Others are the result of assemblies, compositions, superimpositions and collages of different materials. In this way, I can create new materials and textures using plants, fibers and various materials, such as the works "FISHING PARTY" and "THE CANVAS".

Some paintings are also the representation of a montage previously executed on another support. The painting is then the result of the search for shapes and colors, whose disorder gives birth to the decor, material and relief, as in the work "LUMINESCENCE".

". The design of shapes and patterns is a thoughtful moment in the pictorial creative process. The juxtaposition of these shapes is an inherent questioning of aesthetics, perception and the emotion they evoke.

II - My Drawings

My Preparation and Reflection

Attentive and meticulous observation is a crucial aspect of understanding the subject to be drawn. This preliminary step allows for analyzing the subject's proportions, its position in space on the page, the tonal nuances for modeling, textures, light, and other important details

. Workshop observation using photos is used to produce realistic drawings from artistic images in color by authors such as Mario Moreno (elephants), Tim Flash (monkeys), and Thomáš Svoboda (lions). The artists kindly allowed the use of their works as a source of inspiration.

I consider elements such as format, light, contrast, and textures. This analysis helps me understand what needs to be represented in the drawing and how to achieve it to give a sense of soul. Only when I have a clear understanding of what needs to be represented do I begin to draw freehand.

Before I start drawing, I prepare a charcoal sketch that places the subjects and their proportions on the chosen paper format. The sketch allows for determining the boundaries of the composition and having a general idea of the subjects' location on the page.


III – My Sculptures

The Preliminaries First

it's important to conceive an idea or concept for the piece. This may involve sketching preliminary sketches to establish the form and dimensions of the piece.

The pose of the live model must meet our expectations to stimulate creativity, and if not, we can give free rein to our imagination to make an interpretation. This is where the word art takes on all its meaning


My Colors

The choice of colors is vast for the painter. They must first establish their palette of colors, tones, and shades with which they will create their work. I use fine acrylic paints that offer multiple possibilities for renderings (matte, satin, shiny) and variations in intensity. They also allow for many tonalities through glazing overlays. The flat areas are dense and bright and offer an interesting choice of opacities.

The use of color to bring shapes to life is an exploration of abstraction, a way of writing one's own composition or poetry. I also use natural light to give my patterns and vibrant colors a bright and dynamic atmosphere.

. In the end, each work is a meticulous chromatic explosion of my personality and my quirks. Each choice of shape and color is a reflection of my world and my creative aspirations.

The choice of materials

The main tool is different types and textures of charcoal, which allows to add shadows to define contrasts and light. This helps to understand the shadow and light areas and how they affect the shapes and textures of the subject.

I also use graphite pencils of dry to greasy mines with which I work the gray values by areas, such as flat areas, and then adding details with a greasy graphite pencil or pastel. This gives depth and dimension to the drawing.

I use a few pastels, especially black and sometimes white but very little. And of course the eraser crumb, which can be molded to open whites and give textured or accentuated aspects. Some lines can be emphasized with India ink for a more intense black or for a satin effect, bringing spontaneousness and modernity to the drawing.

Finally, I use Mars acrylic black for the backgrounds to give depth and emphasis to the subject. It offers a satin finish.

The Implementation

Next, I use a clay mixed with grog (a substance that helps reinforce the piece's structure and prevent cracking during firing). The clay-grog is then shaped using tools such as rib tools, spatulas, or bare hands to create the desired form.

By step and by small pieces of clay added one after the other, the piece starts to reveal itself. The piece can be worked on multiple times to refine the shape and details. Once the shape is complete, the piece is left to dry slowly until it reaches a semi-drying stage. This step is important to prevent cracking during firing.

After drying, the piece is sanded to remove roughness and to make it smooth. It can also be decorated using tools such as punches, rib tools, or knives to add textures and patterns.

Next, the piece is fired at about 980-1100°C in a specially designed kiln for ceramics. This firing hardens the piece and makes it more durable.

After firing, the piece can be varnished, glazed or engobed to give it color and shine. It is then fired again at a higher temperature to melt the glaze and fix the colors and finishes.

The final firing gives the piece its final strength and durability. The piece is now ready to be displayed or left raw if it is unglazed.

The process of creating a ceramic piece is a long process that requires patience, attention to detail, and great technical skill. However, the final result can be a unique and artistic piece that will be appreciated for years to come.