[…] He uses the letters of american slang vocabulary.  He therefore seizes the signifying without worrying to transmit the signified.  Thanks to a particular technique, he superimposes them in white on polychromatic surfaces, he concentrates them on the smooth in a fluid manner laid on the canvas without ruggedness, awarding them the graffitis movement sign.  In the hurly-burly that follows, the eye has the possibility, if it takes the time, to distinguish on letter or another.

But catches the eye in the first place is the movement animating the paintings.  The whiteness of the calligraphy draws sinuosities, networks like the urban traffick flow on a colored cartography, like electrical pulse going through a thinking brain, like waves invading us, transporting billion of information in just a few nanoseconds.

Here, nothing is stable nor frozen.  It goes around, spreads, swarms, floods.  As well as in some op art artworks, a vertigo comes up that fits quite well with the life rythm that today’s world is imposing with its mobility, flexibility, creativity and competition.  The plactic artwork on each pieces makes every composing plesant, joyfill, playful with a tip of dreadful.  There is a need for whom observes to participate into the paintings.  One needs to get closer, to get back, to zoom in, to dart investigators eyes.  The words keep a share of mystery that they will never totally deliver.  Here they became picturality.

Michel Voiturier