Deep Part Free Stock Images

Include:

White Chrysanthemum for background

White Chrysanthemum for background with sky blue

Glass souvenir

Red glass souvenir on the white background

Heart of the chessboard

Heart on the chessboard game for love. Heart on the chessboard game for love

Elevated scene in Antigua

Stunning views of Antigua coastline. Stunning views of Antigua coastline

3D Generated Abstract Space Structure

3D Generated Abstract Space Structure. Cinema 4D render object

Green abstract background

Green abstract background with soft gradient. The image is divided by the lines of light on three parts. You have a place for text

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)

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)

White Chrysanthemum for background

White Chrysanthemum for background with sky blue

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)

White Chrysanthemum for background

White Chrysanthemum for background with sky blue

White Chrysanthemum for background

White Chrysanthemum for background with sky blue

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

Grain Bark Texture

Extreme close-up of the grain bark of wild tree. Extreme close-up of the grain bark of wild tree

Lemon in the glass souvenir

Red glass souvenir with lemon on the white background. Red glass souvenir with lemon on the white background

Blue Splash Background

Blue-toned background illustration with swirls and splashes. Blue-toned background illustration with swirls and splashes.

Cambodia; angkor; Bayon temple

The bayon construction started probably arround 1200 AD during the reign of Jayavarman VII to Jayavarman VIII. Art historians considered that this temple is one of the most enigmatic religious construction in the world. decorated with deep bas reliefs representing the most part of the time devatas or apsaras the female divinities. The bayon construction started probably arround 1200 AD during the reign of Jayavarman VII to Jayavarman VIII. Art historians considered that this temple is one of the most enigmatic religious construction in the world. decorated with deep bas reliefs representing the most part of the time devatas or apsaras the female divinities

Old Tree Bark Texture

Extreme close-up of the grain bark of dead tree. Extreme close-up of the grain bark of dead tree

Lemon in the glass souvenir

Red glass souvenir with lemon on the white background. Red glass souvenir with lemon on the white background

3D Generated Abstract Structure

3D Generated Abstract Structure. Cinema 4D render object

Tree Bark Texture

Extreme close-up of the grain bark of wild tree. Extreme close-up of the grain bark of wild tree

Glass souvenir

Red glass souvenir on the white background

Lemon splashing blue water

Half of lemon splashing blue water

Crispy pork salted rind with thai herbal

Crispy pork salted rind with thai herbal and papaya salad on the table

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)

Shining Birch Forest

Birches in spring whit natural blue sky. Central Finland. May. Birches in spring whit natural blue sky. Central Finland. May.

Closeup of shiny metal mesh

Old metal grid in perspective, short depth of field. Old metal grid in perspective, short depth of field.

Heart made of stone

Heart made of stone in purple background

Glass souvenir

Red glass souvenir on the white background

Lemon splashing blue water

Half of lemon splashing blue water

Heart made of stone

Heart made of stone in purple background

Bowl of cornflakes over white. Top view

Bowl full of cornflakes over white background. Top view. Bowl full of cornflakes over white background. Top view

Crispy pork salted rind with thai herbal

Crispy pork salted rind with thai herbal and papaya salad on the table

Underwater Scene

Illustration of Underwater Scene with sun rays

Pink Chrysanthemum for background

Pink Chrysanthemum for background with sky blue

Blue circuit board macro

Blue circuit board macro, may be used as background

3D Generated Abstract Space Structure

3D Generated Abstract Space Structure. Cinema 4D render object

Zooming Apuane Alps

Above sea of frog lit up by sunrise sun. Very deep zooming to east part to sunrise. Apuane Alps emerge from low level frog. Above sea of frog lit up by sunrise sun. Very deep zooming to east part to sunrise. Apuane Alps emerge from low level frog.

Lemon in the glass souvenir

Red glass souvenir with lemon on the white background. Red glass souvenir with lemon on the white background

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)

Underwater background with blue bubbles

Underwater background with blue bubbles and wave. Additional vector format in EPS (v.8).

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