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Question 7: Did you develop a personal technique in the use of these media? If so, how would you describe it?
That’s difficult to… I would say that I didn’t necessarily master one more than another. But I’m certainly always comfortable in wood and in painting. Gestural painting with dripping has taken up a good part of my painted work, and I also like to come back to drawing. I like to prove to myself that I can still draw. It’s really a question of constant renewal. I can tell you a little anecdote unrelated to this. At the beginning, as you can imagine, the only demand for visual arts was from churches, statues and paintings for churches. And let’s say that what I was doing in Edmundston was pretty much in the avant-garde. So this went on for twenty years, before the liturgical renewal, around the 1960s, with Pope John Paul XXIII, there was a pretty interesting revitalisation. Afterwards there was a backlash, a traditional backlash. However I’m aware that a religious work is placed in a church to help the faithful pray. This means you have to be sensitive to what the public will understand or accept, to a degree. Creating a piece of art for a religious order or a closed group, that’s another thing. All this to say, that even if it’s been many years that I haven’t created works that were a little more traditional in sacred art, things that will go in a church, well, presently there is a project that is being developed. I can’t say too much about it but it’s a mural. If the person who is paying for it can see it to the end, it will be a mosaic. So imagine, mosaic. I’ve never touched this before. However the training I had in composition, form and colour, I turn back to that knowledge, and there it is. So you always have to be ready. What is interesting is that there is nothing formalized, it’s still sparkling.