Points of departure

my first artistic influences
I am a self-taught artist, mainly because I was about three years old when I started to lose myself into drawing. As a curious little boy, I quickly got interested in art because my parent's library was filled with art books. I was fascinated by the images I discovered in these books, so I started copying them. That exercise soon thought me a lot about drawing, of course, but also about space, balance, movement and the depth of emotion that can occur through the struggle between shadow and light. Slowly, I began to think of myself as an artist. Thus I discovered all sorts of ways in which beauty could take form. These were my first interactions with the world of art, the beginning of a beautiful relationship.

my modern and contemporary artistic influences

In my late teens, I undertook studies in french literature instead of visual arts because I loved reading. I was also convinced that literature was an art-form which could help me see more clearly the creatures I was supposed to produce. This endeavor was followed by a BFA in Studio art at Concordia University where I met Jean McEwen 1 who had a noticeable influence on my output during that period. I also took a class with Barbara Steinman 2 who helped us browse through the plurality of disciplines which can mobilize contemporary art. This adventure added yet another layer to the family of my interests. The world had become even more interesting and filled with beauty I couldn’t have imagined existed. Needless to say I have fond memories of those years.

Simone Weil 3 wrote that nothing, in this world, is absolutely worthy of our love, and that consequently we must love what doesn’t exist, and I agree wholeheartedly because it refers to the act of creation itself, wether it is to complete a painting or to merely stand up or speak. I believe that the future is now, that everything comes down to the present, a single point upon which we can stand up for what is to come. Because I care about the future, I submit that each work of art must participate in constructing our present and, in so doing, be noticed for what it is, a call for change. Without beauty, any kind of beauty, the world would be Hell.

(1) Jean McEwen
(2) Barbara Steinman
(3) Gravity and Grace (1947)
- Simone Weil