In a social context marked by the existential crisis arising from the horrors of the Second World War, European material experimentation assumed the impossibility of representation. This is the context in which one must set the work of Jean Dubuffet can be situated. Dubuffet incorporated into his art socially marginal logics such as those of the mentally ill and children, much closer to primitive and essential art. In Le chien jappeur, the idea of a wall acquires a prominent presence through a thick chromatic layer that occupies almost the entire surface of the canvas. The artist resolves the painting with sharp incisions and quasi-performative gestures that allow him to explore spontaneity and instinct in artistic creation.
While there are ideas about psychological and emotional developmental processes held within the sculptures I make, the things themselves are actual physical explorations into thinking, feeling, communicating and relating.