My way of painting comes from my experience of movement in dancing; more particularly from a technique I have developed step by step in order to create new movements (gestures) when improvising in dancing. I define this conduct as a reconstruction of a deconstructed movement. Deconstruction is based on the principle of isolation. This principle which can be equally applied to motion, space, plane depth or to the idea of emptiness or of fullness enables to define different elements which I combine together in infinite variations. However this process is always the result of an intentional choice. In order for it to take its full meaning, the mental demands to which it obeys must be submitted to chance. Creation requires some constraints, and in my painting water plays this part. Water permits the conflicting elements of reconstruction to reveal themselves, and to display the premises of representation. Paintings are presented on a piece of wood of variable thickness. They may be square or rectangular, one or two-sided with sliding or mobile elements. The paintings may be hung, laid or handled. Diptychs or triptychs are my favourite shapes. Most of the time I use acrylic paint and cover the edge of the painting....