DRAWINGS GALLERY
«Il ne faut pas peindre ce qu’on voit, il faut peindre ce qu’on sent. La ligne du dessin doit toujours être un peu la ligne du coeur... prolongée.»
Henry Jeanson.
To draw is in the center of my formation. This way of making a concept understandable, to communicate its ideas is a major point of the development of my sensibility and brings me a great wealth in my architectural approach.
To take a pencil and a sheet turn out to be the fastest way to express what we have in the head, without obstacles such as the mouse, the screen of the computer; the line of the imagination and the reflection pass directly from the hand to the sheet.
My first year gave me the opportunity to discover the drawing of nude. A new and enriching experience. It allowed me to take time to draw every curve of the body, to detail and to observe as we rarely do it on the shape of a person
It was also the occasion to draw very quickly,
to reproduce what we see for the moment
with a very limited time (5minutes by pose). The Academy of «la grande chaumière» welcomed us for sessions of nude drawings
Musée de l'Orangerie
Musée de Tokyo
Musée Zadkine
Ménagerie du Jardin des Plantes, Paris.
Périphérique, Gentilly.
It also was the moment to discover new techniques of representation, new tools: charcoal, watercolor, fine and dry pencil. While putting myself in very different situations of drawings, going to the museum, to drawings on the ring road. So I was able to discover numerous places and appreciate them as they are, by taking time to observe, to feel their colors and the atmospheres. I learned that letting go of my hand, leave it to its own will, was the best way to retranscribe the feelings felt over the moment.
To draw, is to observe that we are going to represent, to understand the context which we are in at the moment. Through the multitude of drawings which I made for the urban project of the third year, I learnt to observe and to go beyond the lines which structure the drawing. The context takes all its scale in the drawing. We do not reproduce simply the situation, we live it. These drawings were very often made up quickly, in uncomfortable places (pavements of main roads, close to the ring road, surrounded with pedestrians). So, the drawing can go as far as retranscribing the sensation of discomfort, the haste, the will to leave the place.