18 Oct 2017

Last year's group show

Last year I was invited by the Art collective Ij Kunst Collectief to exhibit my work in a group show in Amsterdam. I chose to show a series or drawings called 'désincarnés. Here is the text from the exhibition:

"Is there anything more beautiful than the human body?
The unfathomable variety of its shapes, the mysterious matter beneath the skin, its necessity in the making of all art forms.
I’ve drawn bodies since forever. They were first clothed, in extravagant Marvel superhero costumes or imaginary French haute-couture, until I trained in fashion design in Paris and had weekly life drawing classes for five years. The naked body, a blank canvas for every fashion designer, always was the main subject of my personal work. Tracing its contours-and the voids it creates-has become my conception of the purest art form. In a state of complete focus, my hand instinctively records what my eyes choose to see. Sometimes, in the most fluid moments of creativity and concentration, I can lose myself in those lines, and that is the most intoxicating feeling.
The series of drawings I’m showing here is untitled désincarnés (disembodied). It suggests a reflexion on how one’s perception of his/her own body varies according to one’s state of mind, and how we sometimes can feel as if our bodies stop belonging to us."

28 Nov 2015

Life drawings

Going back to life drawing class has been great fun. Just like 20 years ago, I have no patience and would rather draw the same pose 5 times than spend 20 minutes on one drawing. But I've seen some great stuff by new artists online that's motivating me to dig deeper and not settle for the comfortable 'pretty' drawing. Here is some of last session's production.

27 Apr 2015

my old body

I recently started a new career: life drawing model. I asked my illustrator friend, the very talented Petra Lunenburg, if I could pose for the classes she gives weekly at her studio in Amsterdam.
As a Art student in Paris I had years of life drawing classes, with a big variety of models of both genders and all ages and body types, and I always wondered what it felt like to be still and naked in front of a lot of people who are intensely focused on every detail of your naked body. How much self-consciousness resides after a first few awkward minutes? What do you think about while you're posing? How much do you prepare or even "rehearse"? How tough is it physically to hold a pose for, say, 20 minutes? Nudity withstanding, could anyone do this?
When I went to Petra's studio for my first session, I didn't prepare. I'd toyed with the idea of trying some poses at home but eventually hadn't. First off, I liked the ritual part of it. The undressing, folding your clothes, putting on a robe, then when the students are ready, taking the robe off and taking your first position on the stand.  Amazingly it felt perfectly natural right away, which is a sure sign that I am, in fact, an exhibitionist. We never spoke about our bodies when I was growing up, let alone show them, and my young androgynous body was a source of concern for my family (for the bourgeois side of my family, a male is considered healthy when he's overweight), so my lack of confidence there could never be compensated by any amount of gym work or appreciation. That's why being watched, studied and drawn in an atmosphere of total focus feels wonderful to me. The nudity as source of embarrassment becomes irrelevant. The excitement of participating in a joined creative act, the sound of pencils on paper while concentrating solely on your body position and breathing, that is pure pleasure.
The drawings below are inspired by those sessions.

Bodies #1, 42 x 30cm, crayon on paper
Bodies #2, 42 x 30cm, crayon on paper
Bodies #3, 42 x 30cm, ink on paper

14 Apr 2015

The mystery of X-Rays

Back in 2011 I started this series of pictures called X-Rays. They are, in fact, photographs taken with an i-phone. The use of genuine X-Ray devices for the purpose of Photography dates back to the 1930s and the work of stalwarts such as Stane Jagodic, William Conklin, Bert Myers, Albert Koetsier and Dain Tasker. My perspective on the process, or rather a quick, lazy take on the process, is to capture fragments of everyday life, combining recognizable elements and abstract ones. My aim is to intrigue rather than to expose.
Here are some of my favorite shots from this ongoing series.

2 Nov 2014

23 Oct 2014

22 Oct 2014

18 Oct 2014

Untitled #53, ink on card, 60cm x 42cm
Untitled #54, ink on card, 42cm x 60cm

17 Oct 2014

24 Sep 2014

Weird Wegetables II

Untitled #51, pen on paper, 21x15cm
Untitled #52, pen on paper, 21x15cm

14 Sep 2014

Weird Wegetables

Untitled #46, crayon on paper, 21x15cm
Untitled #47, crayon on paper, 21x15cm
Untitled #48, crayon on paper, 21x15cm

7 Sep 2014

Dual Drawings: The Generation Gap

The last time I visited my parents, I sat down with my 9-year-old niece to make some drawings.
As a child, my two older sisters and I would spend afternoons around the dining table drawing together. Our mother would give us a theme. There was "Paysage sous-marin"(Underwater landscape), or "Vaisseau spatial" (Spaceship). I loved sharing those moments with them, even though I was competitive.
I shared those memories with my niece last month and we asked my dad to make up the themes.
Here are both our drawings side-by-side.
Le travail a l'école, pen on paper, twice 29 x 21cm
Vacances a la Montagne, pen on paper, twice 21 x 29cm

9 Jul 2014

Bizarre Bods

untitled #43, crayon on paper, 14,5x21cm
untitled #44, crayon on paper, 14,5x21cm
untitled #45, crayon on paper, 14,5x21cm