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Female FreshWater Kenyi Prego

She is pregnant but guess what? It's not in her belly, it's in her mouth. Female Kenyi breed in their mouth. She releases eggs and puts them in her mouth. The male shivers his body and releases seamen. She gobbles up his seamen and rolls it in her mouth with her eggs. She will completely stop eating and everything for the month she has those eggs in her mouth. After she releases she will eat again for about a week and back to pregnant again. They get themselves so skinny you have to separate them for a while so the female will be able to fatten up again. See how just under her mouth is puffed up?. She is pregnant but guess what? It's not in her belly, it's in her mouth. Female Kenyi breed in their mouth. She releases eggs and puts them in her mouth. The male shivers his body and releases seamen. She gobbles up his seamen and rolls it in her mouth with her eggs. She will completely stop eating and everything for the month she has those eggs in her mouth. After she releases she will eat again for about a week and back to pregnant again. They get themselves so skinny you have to separate them for a while so the female will be able to fatten up again. See how just under her mouth is puffed up?

Traces 36

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation)

The candles die away

The flame of candles shivers on a wind. The candles blow and becomes darkly, except for one candle. Then and it dies away. The flame of candles shivers on a wind. The candles blow and becomes darkly, except for one candle. Then and it dies away

Traces 37

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation)

Structure of stones

Green grass on a background of stones. Green grass on a background of stones

Love bust into shivers

Flower made by glass pot fragment under blue background. Flower made by glass pot fragment under blue background

Traces 1

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation) L'album trace. French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation) L'album trace

Traces 55

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« ballpoint Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de surface. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "ballpoint", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« ballpoint Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de surface. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "ballpoint", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation)

Traces 35

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned picture. (Sorry, it's a Â« Reverso Â» translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned picture. (Sorry, it's a Â« Reverso Â» translation)

Traces 30

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation)

Cape Vulture or Griffon

A juvenile Cape Vulture or griffon ( Gyps coprotheres ) hisses and shivers its wings for food.

Portrait of men

The young man in cool winter day costs in a coat in the street with the newspaper in hands and laughs. The young man in cool winter day costs in a coat in the street with the newspaper in hands and laughs

Stones background

Gray stones for background image. Gray stones for background image

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