A year later she left acrylics and tried oil as a challenge, but found comfort and ease in it, while oil is reputed to be more "technical".but not for Stephanie... She started in black and white to learn the game of light and shadow and moved on to color shortly thereafter... Listening to her, she just had fun and wanted to progress, learn, improve, and talks about "challenges" that she throws at herself. And note that she could have chosen the raw art, the abstract... No, she chooses the figurative with all the technical complexity that it requires...So, you may say, yes, painting is known to be an outlet, to do good and many people do it as a hobby. This was the case for Stéphanie. But do all people who paint (as they might do sewing, cooking, or gardening, to relax) enter the gallery? No. But for Stephanie, what some people try to do without ever succeeding, or with a lot of work, Stephanie achieves in record time, and above all, instinctively, naturally: a technique, a style of her own, a DNA... The result is these portraits that, very quickly, her close circle of friends and family suggest her to buy. One, two, three works... Word of mouth... The first local exhibitions... and here she is now in a gallery, Art Traffik being very happy to represent her and to offer her the recognition she deserves.Don't ask her "why women", why portraits, why this style, this color palette, what is the message etc etc. She will say "I don't know". And indeed, it is not by default or avoidance to answer, she really does not know. The portrait? It imposed itself on her. Yes, she did some animals, a rooster, but "it was to learn to paint the complexity of feathers or hair". Why this color palette? Silence...She paints on instinct, on desire, and that's what we love about Art Traffik artists. They paint what they have in their heart, in their soul, and this is what creates their identity, because their brushstrokes are authentic, sincere. It is an integral part of themselves that is projected on the canvas. This is why Stéphanie Lacan defines her work as "unjustified figurative": because she is constantly asked to put words to something she cannot explain herself.Where do these faces come from? Stéphanie feeds herself with photos from the internet and magazines. From there, a face will strike her (always without explaining why) and she will begin by drawing it on paper, but already by transforming it, by adjusting it, in her own way, by adding sometimes an accessory (always without explanation) and it is that afterwards that she passes to the canvas with a greed of painting what the paper was the draft, rediscovering the addictive pleasure of the brush, enriching it with her palette of colors, shades of skin, shadows, which are hers and make her portraits identifiable.A series? Stephanie will answer "Yes, I have many series. But some of them are composed of only one canvas (laughs)". Here again, everything is done on impulse, according to Stephanie's desire. Like her latest works with these backgrounds in flat color or these portraits of women of different ethnicities between giraffe woman, woman with trays that effectively compose a "series". But, understand: a desire is born, with the intention of a series perhaps! A canvas will be the result. But it is enough that Stephanie has a new desire for her to end a "series", or that she gets tired of it or that one is enough to satisfy her desire.However, while exploring her desires, her works are recognizable. Undeniably. So yes, I was bluffed to learn that these works that I discovered were born under the brush of a totally self-taught woman with "only 8 years" of painting. What a technique! And a strong identity, already defined. Achieved? In itself, yes, otherwise it would not be part of the Art Traffik selection. But it is likely that her work will continue to evolve, enrich and improve. As her technique and dexterity improve, the brush will become an increasingly faithful extension of her desires, of her soul. With all the sincerity and humility that inhabit her, and perhaps she will eventually find the keys to the mystery of these questions to which she has no answer. Is it really important? Is it useful? For
