At the beginning "I begin most of the time without preconceived ideas, or at least without any finite outline. I may start doodling patterns and the surface extend itself, let the texture take a life of its own until an object can be recognized. This way to summon patterns is for me the basis of a personal writing style, in constant evolution. This allows my work to overtake me. If I work critically in parallel with the piece's evolution, it is a second phase. This step by step evolution is exciting to me: each addition modifies the perception of what is already present. Gilbert Durand, in "The Anthropological Structures Of The Imaginary*," uses the word constellations to evoke imaginary structures, their capacity to linkdifferent themes in a singular manner. I like to think that myths are still powerful and in constant evolution, like great underground forceswhich control the most "civilized" societies. Concerning CORNFLAKES PLEIADE, the themes at stake are great universal themes... The problem is that they combine and recombine in an unexpected way. A bit like genetical mutations. To link things which we hold too far apart, especially today, seems necessary to me to produce meaning. In my linking games, the space-time continuum is simply abolished. This manifests itself by breaks in the scale of objects, in variations of stylization and anachronisms for example. In "le plaisir d'engendrer", one of my drawings, the question of procreation is touched upon in multiple and complimentary ways according to the idea of an unformating of genres. The evocation of the Couple, of sexuality in its double dimension,sensual and sentimental but also biological, genetic or genealogical, clash with each other. In this case, I have the feeling of giving fleshto mathematical laws under odd and refined, using invisible shortcuts which we may find, from microcosm to macrocosm or from the biological law devoid of affect to the distant extension veiled by culture. Generally speaking, my work does not aim to deliver a particular message but rather a thought inviting the viewer to a naïve and transcendantal comprehension, free of cognitive habit or even categorizing reflexes so common in the West. Therefore it is an invitation to bypass compartmentalization, whether they be disciplinary, cultural or other. The symbols of passage, doors, pores, holes, and everything that goes through then becomes obsessional. But before any form of theoritcal involvement or reductive ideology, it is poetry that I want to make. *Gilbert Durand, Les structures anthropologiques de l'imaginaire, Paris, Dunod.