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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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