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Artist’s File

I am a trained musician who mixes and matches sound and colour. “Colour is the other side of sound”. I like to believe that all vibrations are tuned to create more harmony on Earth.

My brushstrokes are lively and free. The first stroke on the canvas is almost always spontaneous and in a very clear primary colour. When preparing for a new painting, I invariably take out tubes of primary colours and greens, a bit of white and black. Canvas size depends on my mood; I may work on many small sizes with mixed media before bringing them together on a bigger canvas later on. Uniting all these colours and movements releases an incredible energy. Should my moods require grander, more fluid and unbridled brushstrokes, I entrust them to a larger surface.

I enjoy this way of creating. It’s how I can express my exuberance and convey my joie de vivre and emotions to others. When I get angry, colour and movement become violent—anger is black while the brushstrokes intensify through deep yellows and accelerate through bright reds. Purple is what usually accompanies my sadness. But colour does not exist without movement, and vice versa; it’s that first brushstroke that spawns subsequent ones, as the painting becomes dynamic and vibrant. The grandness of a sunset arouses symphony, grandeur, immenseness and splendour—brushstrokes are large, fluid and deep.

Most of the time I use acrylics. Occasionally, I’m inspired to create faces and portraits, using chalk pastel and starting with a charcoal drawing. Initially I had much fun with watercolours. But after three years of intense experimentation with all types of colours (i.e., watercolours, gouaches, inks, felt pens, colour pencils and wax crayons), I now stick to acrylic.

My paintings are very ethereal. Subjects tend to float, to fly away, stretching nonchalantly, sensually. I pay special attention to the balance of shapes that may suddenly appear, and to the coherence of the composition. I try to spread the beauty, the elegance. I work intensely, entering the painting and becoming one with it: I become Firebird, I am Santa Fe, I lose all notion of time and I never feel hungry—it’s quite the trip! Often I will stop, sit down and meditate on my creation for awhile, perhaps even several days. I interact with my painting. It’s all part of the creative process. This apparently inanimate painting reaches, advances and settles into space—it’s magical! I will look at my painting while playing the piano. Sound and colour unite in perfect harmony; it is the grand finale. I will even get up at night to examine it. Before signing, I add a bit of light here or more definition there...

 ...then suddenly the painting is complete. It comes alive. I sign it. Long live life!