Select a number to view video excerpt and read transcript


Question 8: How do you approach the creation of a new work? Do you have a specific method or way of initiating the process?

Transcription


Well there are two directions. There are two different departures depending on whether I paint or do photography. When I do a painting there hasn’t been any observation, there hasn’t been any observation carried out, either of a landscape, a scene or even an idea. I think a lot more work is involved: I paint, I paint, I undo what I’ve done, and paint again, even if about the same type of imagery is always achieved, if we look at the evolution of the work that I’ve done. But it’s really approaching the blank canvas and then starting with the noise that is incredibly inspiring for me, the noise the brush makes, the switsh, switsh, switsh, of the brush on the canvas. Whereas in photography, it’s more of a reflection done ahead and when I take the picture, it has already been taken beforehand, I feel, because it’s more like a sense of observation. I mean I go for a walk, I see something funny or completely ironic. For example, at some point, I had more or less discovered or observed that, in Cap-Pelé, there were some thirty houses that still didn’t have steps leading to the front door. So when I returned to photograph each of them, the photography had already taken place because those houses already existed, without steps. So all I had to do was place the shot. The way people act in the streets or the way they mark off the boundary of their territories, their gardens. How they put little animals… there were fads with butterflies stuck to barns, then after that, little ladies with umbrellas in the garden, and the horses made of plaster, pretty kitsch. It’s so ugly that it ends up being attractive. These are also the themes that I’ve kind of used. So it’s much more the irony about what I observe.