Great exhibitions have become important landmarks in the current cultural arena.

They can be considered as genuine ART PIECES and they contribute an important input into the Art World.

Memories of Paintings

They express the transformation of short-lived exhibitions into lasting MIRROR IMAGES with educational value.

For every exhibition that is revisited

An ORIGINAL NARRATIVE COMPOSITION is created out of MEANINGFUL POINTS from the art pieces that are chosen and organized with due regard for the curators’scenography.

An original plural concept: « Memories of Paintings »

Establishing a DIALOGUE, a TWO-WAY CONNECTION, between the painter and the viewer.

  • Rule : originality
  • TEACHING PURPOSE : to give meaning, to help see better
  • MEMORY : for prolonged meetings with the Great Masters through Mirror Images of the exhibitions
  • PLAY and FUN (Freud)
  • For the painter : designing and creating
  • For the viewer : recognizing and understanding
  • EMOTION : a dialogue of colours and shapes

Completing the first visual approach, the retinal vision of the public in order to meet their desire for a better understanding of the art pieces.
Having a closer approach to art history through the combination of details from the art pieces.
Encouraging a historical and cultural journey into the world of Modern and Contemporary Art.

The procedure of educational construction

Aiming at disclosing and highlighting the MEANING, the SENSITIVITY, the MESSAGE put forward by the GREAT MASTERS in their time.
Plunging into every artist’s chromatic world and specific technique
Suggesting the importance of colours and the role they play in the creative process of art: the theory of colours” (Goethe-Chevreul-Itten).
Underlining the reciprocal inspiration links between:

  • Painting and Music
  • Painting and Poetry
  • Painting and Architecture
  • Painting and Sculpture
  • Painting and film making or photography
  • And more generally: between Art and Society

Using a work approach close to that of Matisse

The Architecture of the Composition: a significant step in the process of creation and a true "sport for the brain".
The Choices in terms of Presentation and Disposition: making a decision about sizes, shapes and colours, taking into account:

  • THE EMOTION that is felt when FACED with the art pieces
  • THE ATTRACTION and THE DESIRE that are aroused by exhibitions and lectures (life, history, environment, etc.)
  • THE STUDY of THE COMBINATION of diverse meaningful features in the works of the Great Masters

Colours: their association and their temperature contribute to the atmosphere of the picture and help create a reading flow Colours become the architects of the composition.
Design: it is approached and adapted so that the picture is presented in formats determined by imagination and inspiration.
Different formats can be chosen (Landscape or Portrait or Square) with a great variety of meaningful details from the original art pieces.

  • Iconic details: of landscapes, still lifes, portraits, self-portraits, scenes from daily life, etc.
  • Pictorial details: characterizing light and shade, perspective, texture, colours, brush techniques, etc.

Source material: exhibition catalogues, lessons and lectures on art history, bibliographies by art experts and critics, and biographies on the Great Masters.

The technical approach

Use of acrylic paint as a modern technique:

  • Flexibility of application
  • Colour stability and durability
  • Remarkable purity
  • Possibility of all pictorial effects: as light as water colour, or as heavy as impasto, in relation with the techniques of the Great Masters.

Better than any other medium, acrylic paint is fit for neat and incisive images that express the reality of today’s world.
Use of mixed techniques which are specific media in the effects of transparency, impasto, pastel, collage, ink, felt.
Creation with varied tools: brushes, palette knives, rollers, according to the desired texture.

The pictorial touch is characterized by the tool that is used, by the painter’s strokes and by paint consistency so as to obtain the best possible aspect in accordance with the technique of the Masters.