I am an encaustic painter. I create with the encaustic paint by writing, using a restricted palette and a great economy of means. I make my paintings by superimposing multiple layers, alternating between the encaustic and the hand-writing, recalling the palimpsest.
By adding these different layers, I sacrifice the meaning of the text, causing its disappearance by the accumulation or the rubbing-out. The hand-writing is lost since it does not exist elsewhere than on its canvass. The idea of serendipity interests me because it creates space for the unexpected and for what may emerge from the previous layers while I search for the limit between the alteration of the text and the saturation, before everything is erased.
For me, the gesture of writing is akin to drawing, to the line; the words replace the image since a new form is born of this instinctive and repeated gesture and of the loss of the words’ meanings. My artistic practice is self-referential and in a ritualistic gesture, I write my thoughts and observations about life in general and the society that I live in. It is an obsessive writing, each thought giving rise to another. This writing marks the passing of time, my work thus embodying what is slow, personal, heterogeneous and hand-made. I write until my body can no longer endure it, until the bandages no longer suffice. I repeat these gestures, tirelessly, from one canvass to another; all of these words that I will never speak now become silence.