I define myself as a gay and queer artist
I refute the use of the term “sexual orientation” to define my identity. I am a faggot, that is my identity, my culture.
My practice is nourished by questioning relations of domination and power ; by a need repairing traumatized imaginations by positive proposals. My painting is built by layers, by sedimentation, by confrontations and superpositions, thanks to my memories, my experiences and the ones of the community. It is made of mistakes and letting go, of stuggles and above all of humanity. Everything exists and remains visible on the web because everything is important.
Without wishing that the body is no longer a pretext for gestures, shapes and colors, and for painting to overtake it to reveal a landscape in which we lose ourselves in order to find ourselves, my painting questions the architecture of the surface as much as the anatomy. Bodies are framed as a multitude of singular spaces : deconstructed and reconstructed landscapes where blues and pinks collide. Homosexuality in pink and blue, echoing gender stereotypes, but also “black” homosexuality (the one of Jean Genet, Pier Paolo Pasolini, Robert Mapplethorpe... ) confronting to “white” homosexuality (the easy one, the everyday one, visible, diurnal..) as defined in 1975 by Guy Hocquenghem. «noire» (Jean Genet's, Pier Paolo Pasolini's, Robert Mapplethorpe's...) that confronted homosexuality”.blanche“(the easy, the everyday, the visible, the diurnal...); as Guy Hocquenghem defined them in 1975.
Breaking out of this binary confrontation, the colors come together in a cameo. The body, both figured and forgotten, calls for a form of abstraction of the subject, of the desire, of the erotism.
How to represent an abstract body? What would be the abstraction of bodies if not an image of a memory?
Gender stereotypes, the image of virility and masculinity are questioned through the prisme of the subject. The muscular, almost atrophied, excessive, objectified bodies are vestiges of the Butch Queen, and take part in the gay culture to make visible the parallel history of the community.
From Physical Pictorial to the first homo-erotic images ; from the Villages People to Tom of Finland and Pierre et Gilles ; from bodies devastated by AIDS to the practice of bodybuilding as a sign of belonging to a “healthy” group ; from a ritual of collective mourning to the beginnings of pink washing and fantasies to dating apps... this body is gay. Butch Queens marked the years 1990/2000, before the name Butch was taken up by masculine lesbian , and Queen by the Ballroom and Drag scenes. They mark the history of a community, just as much as that of art and society : they are Kouros, Appolin, superheros... They play with codes, while becoming, over time, the quest for a fantasized ideal, for a body other than his own: the one we make for ourselves.
In this desire to appear and define a new envelope, the possibility of blurring the mental barriers of gender is expressed, with the muscles of the “father” becoming a nourishing breast and a fertilizable womb.
We're not born a body, we become one.
