For many years, professor at the Ecole Nationale Superieure des Beaux-Arts in Paris, member of the steering committee of the Salon de Mai, he first devoted himself to engraving. Since the 1980s he has collaborated with the journal Passages d'Encre. The closed world of Patrick Devreux is that of his interiors, whose poetry he transmits in the mirror of a transposed reality. The subject fixes timeless forms without losing its truth; the canvas becomes the place of the infinite where any hint of illusion is consumed. The desire to refrain from any recourse to realism, leads the artist to strip his themes, limited to interiors and the nude. The contours fade to favor the emergence in a more expansive, generous and restrained way in the way Patrick Devreux suggests. It's in the house. Exclusively. This is what he sees, what he paints, the interior of the house. That he sees, because, strangely, it is a question here of seeing and not of looking. Seeing in the sense where the gaze ceases to act, to construct, where it rather lets itself be penetrated and, as it were, surprised by the things arranged there; furniture, walls, mirrors, rare objects which appear to him in their silence, having for only reason for being that to be there, present, spaced, the spaces themselves as entered in the glance, openings giving on the shadow, half-openings, vanishing lines revealing a body, a fleeting gesture, spots of white light, confusing reflections, surfaces suddenly revealed, dark red presence of the walls.