When I was young, I was attracted to the world of comics. Not because I was a fan of the art, but because I loved drawing characters and I was very attracted to storytelling and that's what made me think when I was young that maybe I would do interesting things in comics.
By the way, I always say to young artists, those who love drawing. It's if you really want to improve your drawing technique, work in comics. Rather than going to schools, where at the moment it's maybe not where you learn the most about the art of drawing. After, I know the power and the limits of the comic strip since I left for Brussels to be closer to this environment, I personally am a painter so the comic strip obeys certain rules, painting is completely different, already by the format so I use techniques of comic strips as a tool as I use techniques of cubism. Of impressionism or pop art and as I remind very often, I use these means as tools that I can or as special effects in the cinema. We can use them according to what I want to tell on a canvas, I will use certain effects or other effects, the fact of using all these techniques of drawing or graphics as tools allows me to enter a world of fusion because as a painter when I look at a painting, I have to seize the atmosphere in a glance whereas for example in a comic strip, you can read box by box so it is not at all the same thing a page of comic strip is not a canvas, it is not at all the same.
When I work on a painting, I try to make sure that at first glance, we grasp the atmosphere. We understand that an action is happening and then we will go and search in various elements of the painting to discover what is happening, the changes of graphics allow changes of space-time. We understand that an action painted with a cubist form is not the same action which will take place under a figurative form and it is that which creates interesting shifts on the same plan and it is for this reason that I created the storytelling art since one of the essential points of this movement is the fusion of the graphics to create another unit then the interest by changing the graphics, it is not. It's not a patchwork of different graphics to put a little bit for every taste, it's really related to what I'm telling and some elements are for me interesting because I'm going to present them cubism and I find that at the level of an art critic what would be interesting.
When faced with a painting treated in this way, by me or by someone else, it doesn't matter, it would be to ask questions to the artist and say. Well, you took the option of treating such and such a part of your work in cubism, why is that the option you took, why not in figurative, why on such and such a part, you use a Pop Art effect, why on such and such a part, you are rather in the figurative, I find that it creates an extremely interesting conversation on the choices of an artist in relation to the options that he took alone in front of his creation. The overall unity of a work in relation to these principles of fusion is extremely interesting to find when I paint and it's really extremely interesting to do these mixtures, to go from one movement to another. I love doing that, it's something I really enjoy and it transports me, I love doing that, it's really my thing.
