Freeze this furtive and ephemeral moment that will give life to the table

By running and then wander painting, somewhat guided by my will and sliding on the media flat, often transparent, in order to find the inexpressible moment, intensity, in a furtive moment, as if to remember the transience of our existence and remind us of the urgency to love and respect all life on earth.


Contrasting  universe between interior chaos and spiritual contemplation!

My designs are interspersed with various artistic techniques, which combines the glaze overlays and resins with inclusions of objects recovered here and there sometimes broken or reduced to dust in order to serve my dreamlike approach, philosophical and mythological, and express with more force, emotions.

Radiographic tables where everything is visible


This is the transparency that is needed with support for change that is plexiglass, works that can be seen as X-rays of the interiority of the table, where everything is visible, and that lead to the search for truth.

                            . Light is essential, it gives a strange and powerful atmosphere, it refers to our own inner light.

                  . These are tables on which mix of chaotic reliefs and very smooth surfaces and crystal that can illuminate from within by LEDs ribbons embedded in a framework where to stand near a window on a trestle transparent plexiglass for example, and so let the light of day. They are like X-rays of the interiority of the tables.


                            

         
    Halfway between abstraction and figurative paintings for some, they rather represent an abstraction of reality.
                                  
                               


                                                                             The creation ! a state of grace, a meditation !
    When I start a painting I return to meditation, I allow myself to creating without knowing and without wanting too much where this will take me, it is a total immersion, I have this strange feeling that my hand and any my being is guided by an external force, in connection with an addition, in a space where time is suspended, in a wonderful time to let go. And when I descend from this state, I feel an immense joy of giving birth to this new table.
                                                                             


                                                     

I am fascinated by the great masters of the past centuries, they are many and among them is that Caravaggio was the artist of chiaroscuro and chose his models among the common people in a desire to reality, Rembrandt who Psychology was reflected in his moving portraits of truth, the painter Vermeer interiors so little productive but whose works were a rare delicacy, which Rubens painting was sensual and baroque, Fragonard colorist full of finesse, the excessiveness of Michelangelo in an architect painter sculptor, the sensitivity of Titian, the great Leonardo da Vinci and many others ...


 I have great admiration for Jackson Pollock, abstract expressionist, whose influence was decisive in the course of contemporary art, including dripping  and pouring  and have used it for inks and resins.
                                                                                                                                                                          

                                                                                                                                                                                                                                                                                                                    


THE BEGINING!

At first it was the oil painting (paternal transmission) and pastels and acrylic it was especially the murals and trompe l'oeil. M The watercolor has made tremendous and also the technique of ink which I execute my way, some Japanese style. For oil paintings I use coatings on which I place a succession glaze that will give a pure color, wedding thickness with transparency, to which I add sand, gold leaf and silver, cracking, paper gloss etc ...

My technical vest after a decorative painting in formation with Françoise De Carles and several courses (technical washed with Solène Delahousses, frescoes, stucco Vincent Tripart to Okhra Roussillon) are patinas to water, oil, decorative coatings, furniture painted with light meals, faux marble, faux wood, trompe l'oeil murals and ever, panoramic, old techniques with manufacturing of products such as those known to lime to its velvety matt (patinas with lime , whitewash ...), stucco with wax finish which gives unparalleled gloss or black soap for mineral appearance, skin glue used for furniture and casein. DECORATOR SITE: http://brigittebresson.fr

  
            






  I mix my paintings and various techniques are a glaze overlay, resins, coatings inclusions on more or less thick with additions of gold leaves, silver, copper, cracks and other objects and materials glue (shells, lace, paper, wallpaper, feathers, shiny crystal etc ...) and sometimes recovered broken, torn. What are the effects of transparency on the matter of interest to me because it gives more intensity, strength to the paint and allow me to access my spiritual journey, dreamlike paintings that were thinly veiled meaning and which are an introspection about the mysteries of the soul.



The painting is a kind of pictorial poetry, silent radiation which tell stories.
The artist's privilege loneliness in his workshop where he comes face to himself and confronted with his truth, allowing him to access the self-knowledge. The creation is in a state of grace or time stopped, she explores the secrets of the soul of the universe and that makes it timeless.



Citations


Beauty, field of art is the meaning of life, the essence seen through the tumult of passions, through the multiform and multicolored appearance. The art, instead of dissolving the active deformation plays imaginatively and sublimely with this psychic material even unclean. It is impossible that art is detached because of affectivity to draw a vivid picture, the artist must present to the imagination the colors and contours of life, even in its perverse manifestations (the seductions and sequences of their adverse consequences) to generate pure form, the beauty of the secret law.

Art is the mirror of life that shows men capable of being moved, the strengths and weaknesses of souls, the adverse consequences of their imaginative exaltation, to achieve catharsis, rising above the vanity guilty. The true art is a production of the sublimely creative imagination, opposite the exalted imagination.


Excerpts from the book of Paul Diel "Symbolism in Greek Mythology"