Gallery

arly Works - India Ink Drawings

In the drawings of the 1990s, the body is already an unstable territory. Faces, anatomical fragments, organs and indeterminate forms come together in images that are often dense, sometimes saturated. Figures merge with their surroundings, while secondary scenes emerge around a central motif, like fragments of a narrative whose connections are not fully revealed. The visible body is subjected to fragmentation, violence, folding inward and transformation. What will later become the divisible body and the lived body is already present, but in a more immediate and fractured form. The image accumulates rather than isolates. Anatomy, memory, imagination and experience coexist within the same space.

War — 1998 India ink on paper, 18 × 25 cm
Original available

Landscape 5 — 1995 Encre de Chine sur papier, 25 × 40 cm
Original available

In the Name of the Father — 1999 India ink on paper, 40 × 50 cm
Original available

The Scream — 1997 India ink on paper, 20 × 30 cm
Original available

Study for Blue Eyes — 1997 India ink on paper, 18 × 25 cm
Original available

The Bite — 1999 India ink on paper, 10 × 15 cm
Original available

Motherhood — 1996 India ink on paper, 10 × 15 cm
Original available

Crucifixion — 1996 India ink on paper, 10 × 15 cm
Original available

Landscape 6 — 1996 India ink on paper, 40 × 50 cm
Original available

Seated Man — 1996 India ink on paper, 10 × 15 cm
Original available

Story of the Eye — 1997 India ink on paper, 28 × 38 cm
Original available

Landscape 2 — 1995 India ink on paper, 18 × 28 cm
Original available

Man at a Washbasin — 1996 India ink on paper, 10 × 15 cm
Original available

Twins — 1998 India ink on paper, 30 × 40 cm
Original available

Landscape - Diptych — 1999 India ink on paper, 22 × 25 cm
Original available

Self-Portrait — 1995 India ink on paper, 30 × 40 cm

The drawing begins in pencil, then develops in India ink. Point and line are already present, but forms accumulate more densely than in the recent works. Blacks can become extremely dense, lines overlap and different elements collide until they occupy much of the sheet. During this period, I often construct the image around a central motif, to which peripheral figures or scenes are added. I also draw on pre-existing images and symbolic structures, particularly those of religious iconography, not to illustrate them, but for their capacity to carry narratives of the body, loss, violence and transformation. These drawings already contain much of the vocabulary that I would return to after 2023. But the construction has changed: where the earlier works often proceed through accumulation and collision, the recent drawings isolate forms more clearly, organise their relationships and give greater importance to the white of the paper.