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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?
I’d like to think that I’m mainly using a combination of techniques; when it comes to technique and to medium. As I was saying, I got my training in painting but I also received training in sculpture; so I tell myself I can handle all aspects or pretty much all of the aspects of what visual arts are about. In the sense that I can also handle both the bi-dimensional and tri-dimensional aspects; so it’s possible to go back and forth between the two, but also to hybridize them both and try to have things merge into one another. When it comes to certain techniques I sort of enjoy putting a stick in the wheel so to speak, for example print making. I talk with people who make prints; well, they have all kinds of constraints and all kinds of rules or ways to go about it. As to the process I use, and the technique, and the way to use some mediums, I like to think that I can put a stick in the wheel and say: What happens when we do this instead of that? A bit, not to go against the technique or the method but, say, to try to suggest alternatives or other ways to think about creating the piece.I can mention as an example one of my pieces that might address the question. A while ago, I was saying my training was studying painting and the practice of painting. So, from there, I wanted to evolve toward making images instead. Not necessarily paintings with the capital P but images with a capital I. You have to differentiate between images and paintings: image, now that can be a photo, that could be a drawing, it could be a graphic representation of something or other. In the 80’s, end of the 80’s or at the beginning of the 90’s, I decided to come up with a synthesis of all that stuff and to introduce in one piece all of my techniques or my mediums, those I use to create my art. I thought it might be interesting for the public and for myself. What it did, is put the ball in the people’s court; it was telling the public: You’ve looked at the object, then you’ve determined what it was as you saw it, and now it’s possible to see how it was all put together, how a succession of elements merged to give the onlooker a certain reading of himself, confronted with the piece. Then I started looking into different ways to express an idea but looking at other fields. In the world of literature, in the world of music, for example. In a musical phrase or a score, in the western world, we begin at the left and we move to the right when we read a sentence. All the poets, the authors, will say the same thing. Musicians, the same; no music begins on the right hand side and goes to the left. So, with this criteria in mind, I decided to create visual pieces based upon that principle; the accumulation principle but with a succession of plans or images, relating to one another, in order to suggest to the onlooker’s mind and to the eye especially, the idea of the sequence or the notion of beginning, middle and end. It’s like the subject, the verb and the object, which for the human being is the way of thinking, of resolving, his way of approaching his environment. So, as far as I’m concerned, it was also interesting to be able to show the contrasts or the differences between printmaking, photography, drawing and painting. Artists will not always show up these differences or similarities but often the public will see, with the sensitivity of the eye to what it is looking at, they will be able to determine: That is a painting, that’s a drawing, that’s a sculpture, that’s a bas relief, that's a direct cut, etc, if we’re talking about a sculpture. So, I wanted to raise awareness among 6-year-old children or adults who attend openings – let’s say that my art is geared toward one as much as it is to the other – everybody, to what’s before our very eyes and how we end up being affected by what’s before our own eyes, in our sensitivity, in our psyche, as well. So, it was to take advantage of the possibilities related to each one of those fields or the characteristics of specific mediums and also to represent variety, the feeling of plenty or fulfillment, as opposed to keeping things naked, minimal or simple. That’s feasible, but let’s say that at the time I didn’t want to. I really wanted an information overload in the pieces while keeping the integrity, let’s say, of the piece. That’s the specific term, the integrity of the object.