AI engineer by training, after 12 years of consulting in knowledge modeling, I devote myself to painting. I have been painting for twenty years in oil on canvas (linen), like the painters of the Renaissance, in successive layers. Moreover, I am a biographer and expert of the painter Renefer (1879-1957) whose palette and pencil stroke are a constant source of inspiration.
Over the years, I have become a landscape painter in my studio near Paris. A somewhat special landscaper since I try to understand why I perceive music there and how I can visually transcribe it on the canvas. Then I realize that I link colors to sounds, harmonies and rhythms to my composition. Here I am today, a musician and colorist.
The whole interactive painting/music field was unknown to me. I discovered it when ordering articles and speaking at conferences. It was then that I reread Kandinsky, rediscovered Klee. Through the prism of music, everything became clear. The musicalist movement of the 1930s and the magnificent last Kupka retrospective at the Grand Palais were luminous.
I find myself in the formalization of the landscapes of Cézanne or Paul Klee, in the musical gestures of Kandinsky and in the colorful compositions of Kupka and quite little in that of Robert Delaunay despite the chromatic circles which, for him, have a completely different "function ". At the same time, I wonder about musical creation, about the inspiration of composers: how are emotions, landscapes, travels, colors or spaces put to music?
Music played a key role in the birth of abstraction in painting: it's something that I discovered with amazement. It is with the same amazement mixed with humility that I realize that I am part of this family of artists who have thought of music in painting, and often linking it to landscape. With music, an immense world still to be explored opened up to me: I listen differently to JS Bach, Schubert, Ravel, Shostakovich or Dutilleux. Jazz and contemporary compositions.
During my exhibitions, concerts are given to offer the public an immersive experience between painting and music. My writings attempt to describe the creative process of certain works: “La Valse de Ravel”, the series of “Partitions couleurs des Nymphéas”. During my conferences on "Synaesthesia or the color of Sounds", the public discovers unsuspected sensations when discovering landscapes and painting that have become music. As with my painting "The Conductor", playing Beethoven's 7th, I want to offer the public a colorful interpretation of music during concerts, ballets or operas.
Also in "My Conversation with Picasso", my painting becomes more narrative and confirms my interest in great painters. Getting closer to their brushstrokes is a very personal way to enter into conversation with them. These works that make our civilization question, how to interpret them today?
My exhibitions personal are numerous since 2009: Sorbonne, World Center for Peace, Diverso/Inverso Foundation in Italy, 150 years of Hanlet Pianos, Iris & Gerald B Cantor Art Gallery near Boston, LCL en Ville and Galerie Roanne de Saint Laurent in Paris, etc. …
My collective exhibitions are mainly participations in the Salon des Réalités Nouvelles and the Salons d'Automne. During the pandemic, I launched the #dessinetafenetre project on social networks. Then I co-organized the eponymous exhibition at the La Cohues Museum of Fine Arts in Vannes. Today, I also collaborate with the Musée de la Batellerie, for an immersion in the landscape, from pencil to brush.
My writings sont publiés lors de colloques sur l’interaction des arts depuis la Sorbonne en 2009, « La Valse de Ravel », Ed. Interface (Université de Bourgogne, College of the Holy Cross à Worcester aux Etats Unis), « La musique des Nymphéas » chez Honoré Champion mais aussi dans la Revue Internationale d’art et d’artologie fondée par Marc Matthieu Münch, tout comme le « Regard croisé sur Vol d’Oiseau de Liszt ». Marc Matthieu Münch est fondateur de » L’Effet de vie » pour une nouvelle définition de la beauté.
Ma dernière interview « Peinture et musique » dans Orgues Nouvelles, été 2022
