Once I’ve finally established my idea, I give it a name. This step it crucial, it’s what defines the Form. The idea of « Form » comes from Plato, a philosopher that has had a great impact on my art and my person. It implies that a concept, which exists in an immaterial world, is perfect and that each material representation is only partial and thus incomplete and false. By giving a name to an idea, I make it into a concept, which can then exist in a perfect form. It’s what I call the conceptualisation.
Now to the third phase, the materialization. An artwork coming from a concept will never portray it perfectly, like I explained earlier, the physical world can’t allow the existence of a concept, only its manifestation. That is why for me, art is more about the process and less about the visual outcome. However, even if an artwork can only be a manifestation, it has power. With an artwork, an individual can conceptualize by him/herself an idea that came to his/her mind when seeing it. I see my art as a vehicle of ideas and feelings. That’s why I don’t stop at the conceptualisation phase and I create an artwork; I have the desire to share my thoughts, what I feel, to whoever is willing to observe the result.
My art is entangled to the Human. I explore human relationships, sexuality, emotions and feelings through my artworks. I try to understand these concepts and their multiple facets in order to understand what links them all together. In other words, my interest lies in human interaction. Every artwork is preceded with a reflexion regarding the subject that it speaks of; I consider an artwork as the physical result of art, the approach and reasoning are more important for me than the final visual result.
I usually start off an idea that came to my mind, sometimes clear, but usually blurry. I grab my sketchbook and the closest pen and I fill many pages of ideas, images, words, sentences. I link them to one another, I take some parts of one and add it to an other. This brainstorm keeps me from sticking with my original idea, I can then come up with an interesting idea. This step can take twenty minutes just like it can take three days.
The materialization of the concept is a question of personal preference. Having fallen in love with the human anatomy not long ago, it is subjected in the totality of my artwork and is my main source of inspiration for my style. Its curves and fluidity inspire me to represent it using lines that mold its volumes. I’ve always had a fascination for the movement of fluids. I try to reproduce this texture in my art. This technique evolves through every artwork. It’s alive and that’s what I love about it. Ink offers me an easy readability and an infinite possibility of contrasts, as long as I can master the media.
To develop the aesthetic of my art I need to build up my skills and knowledge. To do so, I’ve started to study Visuals Arts. I’m also attending, as an independent student, a class « Three-dimensional representation of the anatomy ». I go to life drawing sessions at the UQAM and to the Botanical Garden of Montreal to draw vegetation, on a weekly basis. Also, at home, I practice my use of medias and I experiment a lot.