How did you come to realise your medium and style of paintings? What influenced you?
It took a long time… years, to be honest. Then, I started to paint abstract works on big canvases, like swathes of colour. If I look back, I realise I was scared to leave an empty part on the canvas. I used to add coats and coats of paint.
Lack of space in my studio, I have tried to work on paper and loved it. It helped me to find the balance between negative and positive spaces, and above all, to accept the empty space.
I did dozens of drawings before being satisfied. Today, my favourite mediums are ink, gouache and paper – but I like being able to change them.
My influences are numerous: graphism, constructivism, of course, the artistic movement of the Bauhaus and minimalism. However, I also have an attraction to the Japanese aesthetic. To name a few artists who inspire me, I would say Aurélie Nemours, Marie Therese Vacossin, Satoru Satō and Sol LeWitt.
Your geometric compositions are often about the negative and positive spaces; do you frame these compositions in mind? What’s your working process?
Usually, the first step is to choose 1 or 2 colours. Then, I make small sketches with them to see if they match.
The negative space is very different depending on the colours. Then I start by drawing a line or a geometric form, and slowly and gradually, I built the artwork.
A single line can change everything, so I really take my time. I stop when I find it harmonious and never look back. I often imagine drawings in my head, but it’s more to stay creative than to achieve them exactly.