Playing with the
relationships between the real and the imaginary, seeing and looking, La
Médusa and L’Autruche (2015) represent a gille de
Binche; or rather let him be imagined, since only the ostrich feathers that
adorn his headdress are visible.
Created in a slight gradient from purple to
blue, the touch is more affirmed in the shadows but never completely coloured
in order to create a space, a depth. Small white dots remain perceptible in
order to let light penetrate and recall the photographic origin of the motif.
The lower part of the canvas is composed of bomb-painted features covered, not
without some violence, with white paint. This division of the painting is
reminiscent of the technique of collage, generating optical and tactile
contradictions for the viewers and thus disturbing their perception of the
work.
