For several years, I have been interested in the primordial aspects of abstract painting, both in physicality and
materiality. How one applies paint, selects colour, and organizes a composition, (be it a canvas, wood panel,
paper, cardboard, or with ceramics,) is what produces the body of an oil painting. I opt for bright, contrasting
colors - the most dazzling that nature can offer. These paintings are built with layers of thick oil, successively
applied with a brush or palette knife. At first, the working method and temporality seem hidden, but colourful
fractures reveal the presence of all previous applications. Layers of colourful drips of paint also appear on the
edges of the frame. The surface of each painting presents the temporality of its construction, its textures, and
multiple layers of colors. Embodied in the materiality of these works is an emotional dimension, present from
their incipience. Each series descends from preceding series. Though there are always marked differences
between series, the eye yet perceives visual links within forms, or colors, or textures.


Paul Bureau