“Thirty years ago, I wrote: « Find a mark. But the line must not deny the volume and let there remain but the suggestion. »
Later on, I was to recognize this mark when I began to practice the Chinese art of calligraphy and I discovered, through the works of François Cheng, a pictorial space where drawing and painting merge in the brushstroke that is carried along by a breath. Ever since, the art of mark-making has inspired my way of working whether painting, engraving, or drawing.
A mark embodies the energy of the person who paints, draws, or engraves that which the world reveals to the artist and through whose eye the intangible is captured. The flowing line – unapologetic and flowing out of the intensity of the experience – in the fullness of the moment.
In my work, I try to express my involvement with the world beyond the opposing forces of subject and object. “I am what I see” is to reiterate the lovely method of Alexandre Hollan. In this sense, I am the body who traces the body of the tree and, in so doing, recognizes herself in the shrouded and dazzling space of the primeval forest or, perhaps more intimately, in a garden. This internalized insight is then transmitted through the work of art.
The tree, the forest, the garden are themes that continue to recur in my works over the past several years as does the body – my perception of the natural connection between man and his world, in forms that transcend outward appearances. The gesture that creates the work of art is on a determined quest for its origin, to a natural state, before words.”