Number 54

The interpretation of the medusa myth is very different but what is relevant, for this work, is the relation of Medusa with her image ( Medusa became petrified after a looking at her reflexion in Persée's shield).  Are we prepare to deal with images that we are generating? Are we conscious of what we are representing? I see the pretifaction of Medusa as a symbol of our own ignorance and laxity toward the production and diffusion of images.

After, I guess it is easy to see what we want in Greek mythology.

Number 53

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Number 52

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Number 51

This drawing  illustrates literally the distortion, the accumulation of layers, which bury the reality.

Number 50

What the image reflects, is subjectif and depends of what we are making of it. Every individual showing the same image will have a different interpretation. Because an image is just a representation of the reality, then it is easily distort and misinterpreted.

Number 49

I wonder what it would be like to have a giant cat as a back up dancer.

number 48

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Number 47

Another from the earlier "serie". It works as well as the more complex ones,but in a more raw and trashy way. The concept is still unchanged. The advantage was that it was easy to cumulate them because it really took maybe 5 mn to realise one. Without including the clipping and the sticking. So I say maybe 10 mn for all, which is still a bargain.

Number 46

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Number 45

Freal neck lezard

Number 44

Less glue.

Number 43

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Number 42

There is a certain dehumanisation in the way people are represented in today's media. The nature of representation is such that there is no physical connection between image and object. Therefore, images can create a sense of distortion or even absence of reality. In the past, there was a consciousness of the power of representation and the meaning images were given. However, by the way we look at images and how we try to represent ourselves today, our relationship with the image is becoming less and less meaningful and, as a result, it emphasises the distortion and absence. 

number 41

SURPRISEEEEE!

Number 40

Because it's number 40, feels like there a need for celebration. And what's best to celebrate than a space rocket. Woop-woop! See it going! It's going to split that milky way.

Number 39

I think that it is possible to exploit all the difference shemes and still talk about the same shit. Here we have some very simplistic lines, the aesthetic is different, the effects are different, but the concept is the same.

This is not political or caricatural. It is only about representation.

Number 38

Still simple lines

Number 37

Beginning of the "série", when I was thinking to have a very uncluttered style. The simplicity of the lines adds to the raw representation.

Number 36

" There is no need to verbalise to symbolise ." Régis Debray: "Vie Et Mort De l'Image"

Number 35

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Number 34

I used to have a snail hospital.

Number 33

With the saturation of the information, there is a less value in the property of an image and its essence. The image is treated with no depth, disregarding its impact or its value.

Number 32

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Number 31

Lines!Lines and Lines! More lines!!

Number 30

There was a time where that was a quality in the accessibility. In general, we were receiving informations and images of a hight quality. Now, it takes a lot of effort for a normal person to go and look for those informations. Because with the growth of the accessibility, came the saturation of the information.

Number 29

It is still about representation, transformation, vulgarisation of the representation of an image, illustration of an already transformed image. It is about what we see and what really is. It is about property of an image and latent thief. It  is also about taking easy with the glue.

Number 28

I love those lines. It adds depths and volume.

Number 27

There is something majestic and voluptuous in here, like some sculpture made of some light wood.

Number 27

Here come the lines era.

Number 26

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Number 25

This drawing is a part of a serie where there is more research in the definition of the lines. To be continued ...

Number 24

We are represented by our representation: a picture of us represents to someone  who doesn't know us, what we are. He already speculates and defines the picture he sees of ourselves. He makes his own idea  from what he's seen of this image which is a representation of ourselves. From us to him, we already have different layers which separates us from reality: us and our picture, the picture and him, him and his interpretation. Image and representation distant us from truth.

Number 23

This one is about eternal friendship.

Number 22

This drawing has similarities, believe it or not, with the classical representation of Mary and the little Jesus. But there is a sneaky expression on the mother's face which leads to believe that immaculate conception might have been a subjective matter.

Number 21

I found that one a bit scary. I will freak out if something like that come out of my toilet.

Number 20

I have to say that I was a bit uninspired about this one.

Number 19

I really like that one!

Number 18

There always has been an image cult who exceeds the actual object of the representation, for example in religion. But today, there is a bigger gap between the representation and the the object of the representation, due to an accessibility and a bulimia of the image.

Number 17

Nostalgia about my live classes at school. It also reminds me of a drawing of Terry Gillian, where he had that perfect sketch of a classical image. Just seemed to have a problem with the hand.

Number 16

What a beautiful duet.

Number 15

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Number 14

I really like the shapes in this one. It was very agreeable to draw. maybe because of the naivety behind the scene.

Number 13

It can be efficient to use simple lines, no shades. I see a lifetime partnership in this drawing, a complete symbiosis. Something which is rare to find among human being, without involving money.

Number 12

One of the first

Number 11

Look at that arse! No, seriously. I was speaking about minimalism, simplicity in the form of the lines, something uncluttered to be able to deliver an idea without being pollute by aestheticism. But then, I unleashed and I gazed myself with the poison of aestheticism. Results of this poisoning will be seen from number 20. What is the idea, you may ask? You should refer yourself to Number 7 and 3.

Number 10

There was something very spermatic, visceral and slimy about that picture that I saw in a fashion magazine. It made me thing of some kind of subterranean group of supernatural hermaphrodite being, feeding on what they can reach, sometime their own reproduction. Until they are too old to be the strongest and get eaten by their own reproduction.

Number 9

 Creature from a " Cabaret".

Number 8

I need to remember to take it easy with the glue. I am not a big fan of those Papier-Maché-style wrinkles.

Number 7

I have to say that, at first when I started this series, I wanted it to be raw, illustrative, but minimalist. Because I thought by keeping pure, it will send its messages  more efficiently Then, I realised that there is a lot to explore within the simplicity of the lines. The line will always be that  simple dark mark that you can shape into an invader of a white empty canvas. But your white canvas, is the one you have to worry about. That c****! Even if later in my work, I indulge myself with more complex orchestration of simple lines, the importance of the void and white space of the piece of paper can't be depreciate. It brings its different connotation, language and so then a different concept in the form.

I will be back, I'm meeting a friend and I am horribly late.

Number 6

It is that time of the day. When I bring you a little surprise, from the marvellous attic, while Mr Sandman is running down the stairs . Hey, I am not as soporific as he is. I don't bring you a dream, I'll bring you ... ENLIGHTENMENT! And, if I see him ( I might since we've been working the same shift.), I will invite him over for a port. And I will show him this drawing.

Dodo. Does my Dodo look cosy? Yes, M'am.He surely does. We can sleep on his face and drill on it because it looks soooo comfy.

Did I mention that I take my art seriously? And by asking this question, does it look like  I am not credible?