Lines
The basic motifs are drawn exclusively freehand, to preserve a play between regular and irregular movements.
This play unfolds in terms of density, concentration, and the opposition between mass and division.
Both random and the product of a controlled gesture, balanced between fragility and precision, the drawings rely on no mechanical process.
Each of them is both an automatism of thought (the act of drawing) and a deliberate project (they stem from a pre-defined framework, a sketch, a kind of dessein — “purpose” in French – a word derived from dessiner, “to draw”).
To draw is also to choose a direction in space, to orient oneself.
Between the starting and ending points, seemingly known, lies the expanse to be built, on which the unity of the composition depends, and which remains, itself, unknown.
“When one draws a line, one realizes it neither truly begins nor ends.
Yet it must, that’s the imperative, be both begun and interrupted.
The same holds true for a point, the indefinite unit of a line.
Whether in color or in black, these lines and points form compositions that seek balance, between top and bottom, right and left, center and depth, within the irregular regularity of their movement.”
Points
A marker in space, a punctuated expanse – it takes on color where the line itself is pushed toward color.
Which came first: the point or the line?
Which came first: drawing or the word?
Both end and beginning are words composed of points.
Others
Patterns, sizes.
