. . . At first glance the painting looks like decorative art because of the motifs distributed on a white background — imagery which moves to the forefront with its colour and luxuriance. However, as one approaches, it secretes a strangeness which remains with the viewer long after he/she leaves the gallery.

Some of these images appear to be flowers, but are they really? — they are a play on transparency and bluriness, making subtle references to adulteration and organic components — at times they are very much like human tissue.

The artist uses these flowers as a pretext to play with the unmixed colours. The organic changes of the colour intermingle on the canvas, bursting and pouring out into coloured plasmas that tumble and swell in a sometimes dangerous way.
At one point the painting evolves into an epidermal pleating and at another it looks like a network of vessels, cellular tissues or veining.

With straight stems, drawing a slender or curled curve, the plants gain a bewitching power which is conveyed by the artist’s enlargement of the scale.

Poisonous or carnivorous, these "harmful" flowers remind us of the faded petals of the "baroque Vanités" which begin to take over the space as well as the spirit of the viewer as he moves closer towards them. New textures and blendings of colour emerge in these dynamic paintings which dissolve into disquieting worlds, very remote from the initial reference to the innocence of beauty.

Christian Sester
In reference to the Supernatural panorama triptych, in Etats d’Art, bulletin of the Friends Society of Arts | la Chaux-de-Fonds, Switzerland, 2001.