Photograph courtesy of Avril Saunder
Self-taught bilingual visual artist and writer.
Paris (60.s) – libertarian deputy involved in approaching literature from a holistic point of view. Required getting rid of the teachers who knew nothing about pedagogy other than to copycat their idea of culture and literature. Were allowed only those willing to participate to the exchange of knowledge.
Paris (70.s) - teaching children, through play, the art of automatic writing and collages (textual as well as visual).
Amsterdam (70’s – 80’s) - performances combining poetry, projected slides and painting with the medium of dancers and mimes.
New York (80’s – 90’s) - large scale frescos in international residences. Using aging techniques taught by forgers offering visual projects as an artist of a given period by using from historical visual documents so to give the illusion of an unique art piece recently exhumed, respecting style and tonalities of the given period.
New York – Paris (2000 – 2010) – InterArt : digital creations for installation projects. Creates “Heart of the Matter” - Interviews of those who, witnessing art works, are asked to express not what they know but what they feel.
Paris (10’s) - putting into words all that imagery.
Art critic – not the pathetic kind bloated from the thought that creators exist for the sole purpose of feeding their need to castigate so to alleviate their shame for being unable to create anything other than whatever inquisitive fantasy may spurt from their senile cortex. Here, to be a critic is to intervene DURING the creative process – not after – in order to participate, if asked to, to the positive input required so to challenge entropy and boost creators morale and talent.