2018, MFA Fine Art, Central Saint Martins, UAL
" My intention is to include different modes of reproducibility in the pictures of altered resemblance. By the superposition of profane processes and the succession of baroque gestures, one can regroup the instruments of image and reconnect with the mysterious evocation of its origins. I have been an active part of the International Printmaking Union : a joint movement, started in 2013 by the printmaking department of La Cambre, gathering institutions related to print. The movement exhibited group shows in Brussels and London. This cooperation, which has been going on for three years now, and which involves a series of partners in the fields of printmaking (Central Saint Martins, Royal College of Art London, Royal Academy The Hague, PrintRoom Rotterdam, Centre de la Gravure La Louvière, Royal Academy Antwerp etc.), is entering a new phase with the articulation of a common project which will lead to European applications.
Printmaking and the methods related to metal etching are the central medium of my practice. This choice comes from my appreciation of the multifaceted possibilities available with those. In itself the “medium” means more than a succession of processes on the material. It is not only limited to the digging of grooves into the plate, of photographic transfers, of intaglio principles, of the cutting of matter. I question myself on memory, its sustainability, mythology and hermeneutics. I have also been interested in the idea of palingenesis. Themes which I approache are issued from a fantastic, symbolistic and surrealistic lineage. Finally they regroup the contemporary questions of a comeback of metaphysics and narratives in our societies, as a representation of an hybrid imaginary between post-modernity and decline. The discovery, development and learning of new techniques in etching have become a essential part of my master’s project. To be able to design hybrid images in their operational and substantial conception and in their substance. Image is never a simple reality but rather, according to Régis Debray, a succession of operations situated “between visibility and a signifier and emotional power ». Each print has a portion of uniqueness, because of the sequence of processes, the bites variability and the singular treatment of each composition. It is a way to group these techniques during the inscription of a strong idea in the transition from formless to form."
Hard-ground etching and aquatints Printed on Zerkall paper
70 cm x 100 cm
Beyond Mirror & Chasm
Hard-ground etching and aquatints Printed on Hahnemühle paper
60 cm x 90 cm
Hard-ground etching and aquatint Printed on Velin d'Arches paper
40 cm x 70 cm