By Elisabeth:
I always sprinkled my personal, family and my career psychologist and psychoanalyst time to paint, sculpt or write. As the years passed, more paint has become imperative. Of psychoanalysis to the art, there is not one; I have had to overcome.
With the painting came the need to build volumes, even “grab” the space with facilities, each practice referring to another, indefinitely.

Of course, there are constants; I prefer mostly movement, tension to the limit of imbalance. The work on large canvases naturally involves movement, but less large formats also include the research, playing with the frame or the output frame as a gateway to somewhere else. As for volumes, abstract or concrete, they aspire to become “animated objects” on the alert.
Opposing terms can give me a direction, such “light-heavy” density-transparency “,” tear-couture “… These contrasts are splashing colors and often humor beyond the apparent violence.
I often work from debris gleaned at random and already full of history: encounters with objects that are installed on the blank canvas or space until another story come to life on which I could graft my imagination, build other weaknesses, point by point …

Or, I work on series, for example on “the potato in all its forms,” germination to drying: metaphor of the strangeness of life that continues to surprise; it is a theme that I run indefinitely, as in paint, and volume drawing or photo, or even written: real or imaginary potatoes, humanoid, animal …

Lastly, I remain very alert to flaws, mistakes and accidents that cause me to integrate them into a new entity, often unexpected.

Philippe Morin / Artemis Irenäus von Baste
Les Koronin, online gallery in Contemporary Art, France and Switzerland