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As is the case for numerous artists, I started
                                                            to work in oil. Then, for a rather long
                                                            period, I worked in watercolor. I liked the
                                                            immediateness and versatility of this medium
                                                            and took an active part in the activity of the
                                                            French Watercolor Society. I endeavored to
                                                            introduce a more contemporary approach to
                                                            this century-old medium while still sticking
                                                            to my mantra of figurative painting. The
                                                            way watercolor was practiced in the United
                                                            States by artists like the Wyeths (father and
                                                            son), Sally Strand, and Mary Whyte greatly
                                                            influenced my own vision.
                                                             After more than 30 years of watercolor,
                                                            I discovered—or rediscovered—soft pastel,
                                                            which is at the same time a drawing and a
                                                            painting medium. Soft pastel (as opposed to
                                                            oil pastel) combines the immense possibilities
                                                            of oil painting and the directness and speed
                                                            of acrylics or watercolor. There is no drying
                                                            time to take into account. A layer of soft
                                                            pastel can immediately be superposed to a
                                                            layer of hard pastel. The expressive potential
                                                            is as broad as the one of oil painting. Now
        Anoraks, pastel, 22 x 22" (56 x 56 cm)              I work approximately 80 percent of my time
        The anoraks were hanging pressed together in a garment shop last winter. I was immediately attracted by   in pastel and the rest in oil (small canvasses)
        the delicate sheen of the fabric and the hundreds of subtle hues of pink, grey and blue. The composition is
        attractive, too. It looks like the two rows of anoraks form a valley, a clear allusion to the mountains those   and watercolor. My production concentrates
        warm jackets are intended for. I took about 10 photos to the suspicious amazement of the shopkeeper, but   on still life. I strive to paint subjects as
        only one proved to be close to what I intended to paint.  inventive and unusual as I can.
         From the very beginning I could visualize the final pastel picture and could foresee the fun I would   Now I think that I finally could assimilate
        have painting all the nuances. My experience tells me that if I enjoy painting a subject so will visitors in an
        exhibition enjoy discovering the painting.


                                                            Three nuts / red background, pastel,
                                                            23 x 31" (58 x 79 cm)
                                                            I love subjects that are not usual among still life
                                                            pastel painters. Since my family counts a fair
                                                            number of close and remoter parents with a gift
                                                            for mechanics, I have been surrounded by tools of
                                                            all kinds and sizes since my early childhood.
                                                             I learned to love them, their shapes, their sheen.
                                                            Among them, nuts and bolts occupy a major place.
                                                            Though I am quite unable to use them properly
                                                            I love their metallic beauty. Nuts with their
                                                            reflective sides look like small sculptures.
                                                             After several attempts at various compositional
                                                            alternatives, I settled for this one based on a trio,
                                                            which always has something magical. I took care
                                                            to have two of them “kissing” one another while
                                                            the third nut is set slightly apart. This contributes
                                                            to enliven the composition and to shun boredom.



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   FrancoisMalnati.indd   116                                                     6/22/16   11:20 AM
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