“I quickly draw “figures”, images that are in my mind.
In fact, what I present here is a “collective” body.
If these figures seem strange to you, it is because we are accustomed to the still image. In
movement, everything changes, movement and time
– in their fractions of seconds – transform matter.
But our eye does not see this.
Our eye (mind) works like the cinema, it cuts out most of what is happening. What is
recorded in the visual cortex and memorized is
a sequence of fixed shots, of clichés.
I am drawing and painting the lost pieces.
Art, like sensations, is synthetic and not analytical.
I do not represent. I present my relationship with what I see.
My paintings are the intersection of these two worlds.
My subject is not what I see, but the relationship of everything that appears to me as an
image. I seek an essence far beyond the image.
Human beings are much more than the representation of their bodies.
To show an experience – it is not the draw but drawing.
(The world does not need images, but experience)
Inspired by human representation in the Western tradition… and by my condition as a
“woman who walks”, I borrow the title of this series of paintings from Alberto Giacometti,
Femme qui marche (1932).
He said he was inspired by Apollo Belvedere,
but its hieratic style brings it closer to archaic Greek art, the Kore.
I can’t help but think of contemporary models.
Similar representations of women in different times.”