Coulisses

The singularity of engraving

"Red transmits emotions, makes us vibrate, tremble, shudder, capsize... These are all the feelings that I want to transcribe and transmit in my sometimes almost monochrome monotypes, or in contrast with Payne's gray that I particularly like."

"The unexpected, the astonishing, the unexpected are offered to me when I lift the cloth of my press and discover the impression of the print!"

"Depending on the intensity of the color, the symbols are different but always very rich. The monotypes, through their uniqueness, allow an infinite palette, full of emotion.

I like the unique, I never ink my engraving plates in the same way. Each print is unique like my Rivage and Rouge monotypes.

The fluidity and transparency of the ink

"In painting, I always work on the ground. I move around my canvases or my large scrolls, using in turn Chinese brushes, feathers, reed pens, branches, leaves or my hands, leaving a trace of their passage, an imprint on my works. I work in fluidity and transparency, with no room for error.

This play of water and ink leaves room for the random, the unfathomable and the unexpected, assuming a certain lack of control, opening new frontiers between reality and imagination."

INK ON CANVAS

Used pure or diluted, the indelible and lightfast colored inks allow for infinite variations of colors. Applied with a Chinese brush, a reed pen, but also with the help of plants, the ink allows for successive washes providing depth and perspective.

MONOTYPE

A monotype is a unique print obtained by a non-reproducible process. It is painted, like a painting or a drawing, on an unetched zinc or copper plate. Brushes or cloths are also used to remove material and create light. The image is then transferred to a sheet of paper by passing it under a press.

SUGAR ETCHING

It is a mixture of sugar and Indian ink applied as a drawing on a zinc plate. After being varnished and passed under boiling water, the plate is immersed in etching (nitric acid or diluted ferric chloride) to create the grooves allowing inking before printing.

DRY POINT

The drypoint, handled like a pencil, digs into the copper, zinc or plexiglass plate, creating more or less deep grooves which can be inked to be printed.

CARBORUNDUM

The technique uses a material that is both extremely hard and stable, carborundum, with resins that harden when dry. Applied with a brush and worked on a metal plate, this pasty mixture dries to a very hard material. This preparation can be inked, wiped and printed in relief.

EMBOSSING

Embossing allows you to obtain raised or hollow patterns under pressure. The paper is deformed by strong pressure between the engraving (carborundum, textiles, etc.) and the paper.