//// artistic approach
Lives and works in Rennes,
In 2015, I had the opportunity to be initiated to the art of icon painting, in Ukraine under the guidance of Master Olena Smaha, painter, icon painter and retorer for the Andrey Sheptytsky National Museum in Lviv, dedicated to sacred arts.
§ The ancestral technic of iconography has a major impact through the majority of my paint work. It became the doorway to my expression. I paint on wood, levkas [rabbit skin glue&blanc de Meudon, painting substance composed of calcium carbonate and clay], emulsion painting [egg&white beer] and pigments. I make those bases myself. I use 23k45 and 24k gold leaves for the gilding (pure or quasi pure gold).
In my painting two sings: the testimony of my intimacy, a cry or prayer thrown into the void of Heaven; and Jesus, God loved-one, the one I love and to whom I look.
I sometimes seek how to express this inner life through a body posture. Posture I study through the drawing, in a collaborative work with a live model. This exercise of working with a live model is something I am very fond of.
§ Here come the themes I commit to : the void, the emptiness, the shadows, the scream, death, life, desire, sex as origin and sign of incompleteness, God, the woman, the man …
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§ ABOUT ICONOGRAPHY
–make present the world of God–
Egon SENDLER. The Icon, image of the Invisible:
It is a millennial sacred art composed of several schools with their proper writings and techniques. “Icons express themselves in the language of the Byzantine-Slav culture and the spirituality of the oriental Christianism. […]
By considering icons, it is important to keep in mind a triple dimension: scientific knowledge, artistic value, theological vision. […] Icons unify theological, aesthetic and technic elements to unveil in faith and meditation.
They are image to the Invisible, and even presence of the Invisible.”
Indeed, “each icon (is) the reflect of the divine and human natures united without blend in the person of Christ.”
Since the Invisible has become visible by taking flesh, you can execute the image of Him, whom we have seen.
Since Him who has no body, no shape, no quantity nor quality, who is beyond all greatness by the excellence of his nature, Him who, of divine nature, embraced the condition of slave, has reduced to quantity and quality and donned human features, carve in the wood and present Him to contemplation, Him who wanted to become visible.
Saint John of Damascus