"My painting is an ink-and-water painting that results from a very physical process, but there’s nothing to suggest that. I work with paper mounted on Dibond—an aluminum and carbon composite panel used by photographers—which gives the painting a flat, screen-like effect. The important thing is that neither the support nor the brushstrokes are visible, so that this mystery serves as an invitation to enter the painting. The painting reveals itself immediately, without being reduced to a mere image. I work in layers of ink: they intertwine and weave together. As they blend, they create a sort of mist, a haze of luminous color. Each time, I try to approach a threshold, a tipping point where everything can waver. To make the color vibrate, I must find a balance between the density of the pigment load—which creates this tactility and matte quality—and the pitfall of an opaque, overloaded surface that is incompatible with the work’s sense of breathing. However, I don’t feel as though I’m bound by any rules. I work over a long period of time, which contributes to this sense of depth, of an almost atmospheric perspective that emanates from my works. When you look at a painting by Monet—who, for me, is an absolute master—you can see that, thanks to his keen powers of observation, he manages to create a world where things touch and interpenetrate one another. Painting, in my view, is exactly that: it is about touching and being touched."