Approach to Portrait painting
Between mosaic and pointillism
The artist's portraits are halfway between mosaic and pointillism. The technique used differs from the classic mosaic by the superimposition of the keys rather than the simple juxtaposition. It is also distinguished from pointillism by the size of the dots or touches and the orientation of these, which is intended to be as random as possible.
Colorful portraits
To create his portraits, the artist uses a universe of bright and crazy colors. He establishes a dialogue between colors, plays on contrasts and complementary colors in order to create the greatest possible pictorial richness. The choice of colors is often unexpected and is guided by the emotion released by the subject.
During the production of the pointillist paintings, the artist works from a distance in order to ensure the cohesion of the work both in terms of forms and colors. Without evoking optical mixing as a theory, the viewer will have to mentally combine the fragments of information to obtain the final image.
Portrait and mimicry
The objective of the artist's work is not to reproduce the image in a photographic way but rather to translate the emotion transmitted by the character and particularly by the gaze. The use of dots or keys favors suggestion rather than exact rendering.
Textural work of the portrait
During the creation of the portrait, the layering of strokes using the characteristic spatula technique enriches the texture, infusing the portrait with depth and expressiveness. The glossy finish highlights both the textural work and the depth of the colors.
Who sees the human figure correctly? The photographer, the mirror or the painter?
Pablo picasso