I would like to lay bare the structures of the contemporary world, as we celebrated the geometric world in its time. Show the binary code of the digital world, the barcodes of the information and consumer society, the diagramss of the financial world and its algorithms that have invaded the entire kaleidoscope of human activity. A return to painting is needed to withstand the dissolving flow of bytes by freeze framing. Like primitive man, I paint icons of the emerging digital age. It is a joyous, sociological, inquiring and critical painting.
Our aesthetic has become quantitative. Cézanne would no longer paint the Montagne Sainte-Victoire, but rather stock market fluctuations: the planet has become financial. I paint the gambling of speculators and landscapes of the mountains of stocks, gold and silver that surround us. Claude Monet would no longer paint water lilies, but rather holes in the ozone layer above the poles. The cubists would paint the binary code of our new nature. Mondrian would paint the zigzags of our statistics and crises. Our consciousness of nature has become ecological, global, scientific, ethical and political.
And what about chromatic codes? Colour is delocating, due to international pressure. The colours from our cathode ray screens bombard us with electrons. The chromatic primitivism of virtual spaces and scientific imagery is free of any realism, like the colours of stained glass in our cathedrals. Colour has become secular, but we should not underestimate its identifying, promotional and market symbolism, or its power of seduction. These are the colours of men who believe in their creative power and who colour the world themselves. Digital fauvism is in no way anarchistic. We like the ecstatic colours of the ice cream man: saturated and sweet. That’s today’s fauvism: cathode ray- and food-based. Our eyes drool over the acidulated colours. The world thinks of and consumes itself in fake colours.