By way of introduction to my own work…
Painting is before anything else recreating light with pigments which catch or reflect solar energy.
This dual action of perceiving and creating light, recreating it again, can only accomplish itself by implementing obscurity, darkness.
Perception and above all the consciousness of light totally depend on the ones of darkness, of what is obscure… and this darkness in everyday life takes its root in the midst or at the very surface of matter or materials or even, more subtly, in the heart of diurnal or nocturnal phenomena, in gaseous or vaporous conditions which change with the rhythm of temperatures or climates. Thus, a dialogue becomes open within the silence of the continuum of the vital process of birth and degeneration between opacity and translucence, darkness and light.
Even our psychology becomes impregnated with these photosensitive correspondences and we feel more or less in darkness, more or less in light…
These chromatic acts, these actions of Light which are colors seem to be in a certain way the pains and sufferings of a more ethereal world incarnating in order to become manifest : Goethe had not considered it in another way during his attentive observations.
If color was nothing but a wave length and the light only some velocity of propagation – what Hertz never asserted – we would not be able today to bend over any history of painting, any poetical history of color and no transcendence could be conveyed by the quality of a nuance or a tone or some chromatic harmony.
The color which has an effect on the human soul cannot understand itself with only physical factors ; for thousands of years it has always been like an active element of what is beyond and this is like some ‘beyond’ in our own world, a meta-world, which I want to consider. The philosophers of ancient Iran thought that color is the only way for Light to emerge from the invisible and to appear to the human eye. In this way, Light truly remains a “manifestation” at its first meaning.