This article revolves around my practice, as an artist, which has an essential link with images and their circulation. In a subtle way, painting offers me a language allowing me to explore the polysemy of the chosen image, to experience a vocabulary both figurative and abstract. My practice could choose and process "ordinary" images, which are diffused but whose diffusion does not alter the subject, and has no consequence on the latter. It can also retain images whose strength is intrinsic to their circulation, to their popularization, to their controversy, images which will however ultimately generate paintings, and simultaneously erasing this circulation.



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