My artistic practice is based on duality, experimentation and the materiality of paint. This practice reinterprets a legacy of lyrical abstract expressionism and renews it in a contemporary way by using opposed notions of will and thought. Based on a rigorous process that leaves room for serendipity, my practice gives a result that is far from determined. The piece becomes the result of a dialogue, an interaction, a dance between the canvas and the artist, where the elementary forces of gravity and time are as active as the mark left by the gesture. Change and the state of change reflected by this experimentations are important themes in my practice.

By putting, throwing and diluting paint on the canvas, I allow serendipity, gravity and time to modify these marks and to create fortuitous traces on the canvas. Thus, voluntary mark-making mingles with random drippings and the unpredictable alterations to the materiality of the paint. Then I decide whether or not to control these traces. They become an integral part of the work. There is a strong dimension of physicality but also a conceptual dimension in knowing when to intervene and when to let go.

My works are produced between periods of reflection alternating with intervals of action, allowing an incremental development of the imagery. Once the initial composition is suggested by the work, the intention becomes clearer and is finalized using free marks and colored masses.

Shaped by an architectural heritage, my imagery refers to a tri-dimensional spatial construction and uses the language of figurative space. In structuring my work in different planes, I create a perception of depth and a feeling of space in which to project oneself. The viewer is invited to navigate through transitional zones alternating between violence and softness. The interaction between forms and colors speaks of contradictory impulses that cause tensions of all kinds. Resulting from those are “un-landscapes” with paradoxical forms, whose borders are both defined and denied. I invite the eye to travel through atmospheric scenes, beyond the physical matter in a suspended temporality, seeking to engage feelings and intellect.

My work wants to evoke a resonance, an echo, a conversation between the image and the viewer. Born of happenstance and determinism, it seeks to provoke by this duality a visceral reaction to the work, but also to use the evocative quality of abstraction to represent the influences that inhabit each viewer. My challenge is to create a work that is a reflection of both an intuitive painting and, a voluntary painting that wants to create a representation in the mind of the viewer.

” But even abstract paintings have representational qualities; the human brain cannot help but impart meaning to form. “

– Roberta Smith, “It’s not dry yet“, New Yorker Times, Art and Design Section, March 26, 2010.


CP 264, Notre-Dame de Grâces, Montréal, QC, Canada H4A 3P6


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