Stained-glass window (“vitrail” in French). For several reasons. First the light, that overflows step by step the canvas. Then the deep contrasts, as we can see them between the stained glasses and the skeleton made of lead. Finally the apparent mess, the disorder of the global effect, imperceptible, that strikes at first glance. Details, construction, explanation - if one is necessary - will come later. This apparent disorder of abstract painting is often disturbing. There is disorder because nothing can be recognised, nothing is tidy like inside a familiar cupboard. The shapes are merily identifiable : squares, rectangles. But nonetheless, the place of each one is part of an overall score.

Score, because for me, in this case, painting is like music. As there are colours in an orchestra (given by each intensity and sound of each instrument), there is here a musical group in which each colour plays its own score so that the whole thing globally will reach its own equilibrium. From pianissimo to forte, the red will play with, or above the yellow, which will start to perform discretion and after that scream. This “vitrail”, for me, sounds like a requiem in a gothic cathedral. (oil on canvas, 100 x 100 cm, 2006)