The work questions the artist’s place in the creative process by entrusting part of the pictorial gesture to a natural force: the wind. Set in motion by air currents, the brush produces unpredictable marks, turning the wind into a true actor and letting nature complete the work. The wind acquires a handwriting of its own.

By symbolically abandoning his brush to the wind, the artist ultimately raises an essential question: who is really the author of the work — the one who devises the apparatus, or the natural force that produces the gesture?

The tiny fragment of blue plastic found on a beach is placed at the centre of a precious frame: it is elevated to the rank of a fossil of the Anthropocene era. The plastic waste that humanity mixes into nature persists, indifferent to the natural cycle of decomposition.

Minute in size but almost unchanging through time, this fragment becomes a witness to our passage and our impact on the environment.

‘Horizon’ has two faces offering two different visions of the same landscape. Suspended, the piece turns with the wind and never permanently settles on one face rather than the other. The viewer alternately sees two atmospheres appear, two perceptions of the same reality, but a single horizon.

What appears to be a limit then becomes a space of passage. The work reminds us that the same reality can reveal different faces depending on the point from which we observe it.

The title ‘Now Futur’ deliberately creates a tension between two temporalities: now and tomorrow. The future is no longer presented as a distant, abstract time; it is already contained in what we produce, consume and discard today.

The paintings can be seen as a form of anticipated archaeology: they invite us to look at our present from an imagined future, and to ask ourselves which traces of our civilisation will survive it.

The future may not be what comes after us: it is what we are already leaving behind us.

The work explores the encounter between human beings, nature and a spiritual dimension that seems to surpass them. Through the interplay of shapes and colours, several dimensions symbolically meet: earth, mankind and sky.

The coloured lines running through the composition play an essential role. Rather than separating the forms, they connect them. The boundaries become zones of encounter, as if each element could only truly exist in relation to the others.

‘Celestial Unity’ thus invites us to move beyond visible oppositions. Behind the fragmentation of forms and colours emerges the idea of a deeper unity: mankind, nature and the universe would not be separate realities, but different expressions of one and the same whole.