Sebcher

From the farthest of my memories, I think I already had a pencil or a brush. I was quickly touched by painting and its ability to give impressions and sensations.

There has never been a break between childhood drawings and painting, it has always been my refuge, my means of expression.

If I had to identify constants from my work, I would analyse it this way : walking through the streets often you find things ... the walls are emergences, you can find symbolic elements. Why I have a suggestion with these images, I never reasoned with it, I am intuitive. 

The walls give me impressions, feelings: sometimes negative or even oppression and tragedy. They are also for me a place of contemplation, of meditation, moreover the first text of the founder of Zen Buddhism is entitled "The contemplation of the wall".

These spaces are no longer a place used to enclose, separate and prevent seeing, on the contrary they become a place, a space and an opening towards other things. Scratches, stains of humidity, cracks ... the passage of time, the symbol of expired things, closed doors, the dark and cold colour of rotten ... 

Suddenly you see a cross, a line or a writing of a bright colour, a tragic gesture of life and poor in meaning in the eyes of most. Here is the contrast, the balance between life and death that emerges. Life and death, an invariable constant in my work.

I don't know if I can do it, but I would like my work to bring the viewer to think, to meditate in front of an abstraction that is not one, my work takes the viewer to the "real", at least the one I perceive.

I work slowly through a succession of layers of matter and little by little this matter becomes a language, it works with my way of expressing things.

The material is very symbolic, in itself the latter intrinsically has sufficient characteristics to express and feel things. At the beginning when I make a painting, I can have a more or less concrete idea but I don't know which image will appear. 

Your idea may be good in intention, but sometimes the material says nothing at all. There are aesthetic laws that matter has and your creation follows a path which is proper to it, a path by the same token of the intentions of the doer.