The dispersed pigment from the spray bomb evokes a construction painting, revealing a gestural art akin to calligraphy or drawing. In the Renaissance, black and white drawings, or “Grisaille,” were preparatory techniques for final paintings. Artists used this method, similar to modern preliminary sketches, to draw first and then apply color. This contrast between drawing and painting sparked debates for centuries, suggesting that black drawings revealed raw reality while colored paintings were adorned to attract and entertain.The current series explores this narrative, seeking intimate truths and echoing the flamboyant Neo-Gothic style of churches. It offers a graffiti-fluorescent journey through the underground and the sanctuary, reflecting the iconic representation of the Virgin Mary. The mother’s face, the first landmark for a newborn, becomes a mirror of the soul, allowing for introspection and projection of hopes and morals.

Walking through a church or an exhibition hall is akin to seeking an anchor point, a place for reflection and self-projection, similar to the storytelling around sacred hearths in ancient times. This series, showcased at Nuit Blanche 2022, invites viewers to engage with themes of ancient techniques and modern expression, finding personal reflection in the universal journey. It underscores the importance of places of refuge and meditation, especially after significant events like the Notre Dame de Paris fire and the health crisis, urging a return to serene understanding of human experiences.

This intersection of historical and contemporary art forms prompts viewers to reflect on their journey, much like our ancestors did in caves and cathedrals. This blend of ancient and modern seeks to connect personal experiences with broader, universal truths.