I see abstraction as an interpretation of reality and when I started dealing with it, I had to accept burrowing through my wild.
I use abstract painting as a catalyst for intuitions to take distance from the real and investigate it.
I am completely instinctive in the first part of my realisations to better dig out of them a sensible content.
I then introduce on the free flowing, a figurative element which is an abstract for the story, a symbol for the feeling.
If sensations are too confused to be represented, I will contain them in geometrical shapes that testify my own resistance against emotional deliquescence.
The concrete element allows me to inhabit my work but it’is not a guide for the viewer as it doesn’t command interpretation.
It is, in fact, a partial abstraction whose signification is left up to everybody to find.
I’m determined to create without methodology nor anticipation in order to avoid theatricality, bluff and repetition.
I don’t intend to intend, since intention is a form of confinement, as are all a priori notions.
However, similar colours, shapes and impressions are often coming back.
They speak for my light and not light founding elements: stained glass windows of all the churches where my mother was an organist, holy pictures my great grand-ma would show me endlessly, memories of our home, destroyed by property developers after they forced us to go by setting the house on fire …
The sum of all my lives and its resulting associations give my creations a coherence I have no control on.
Beyond shapes and shades, I am telling a story that I would like others to take over to juxtapose their own with it.
I paint hungrily and don’t like to be slowed down by a missing colour or a drying pause.
This is why mixed media are perfect to me as I dip into whatever is there to express myself rapidly.
I was born in Nice, half french, half italian, like my beautiful city.
My “coming out”, as an artist, is quite recent.
Though I always had, from my early years, reproduced what I imagine, traducing facts and emotions into symbolic images, I usually was disppointed with the result. What I had in mind was so much more beautiful that I would even prefer to put it down in words, on a sheet of paper …one day I would learn how to draw, how to paint.
I first did what I was expected to, studied (languages and journalism), worked, travelled and had plenty of children …until I met an enthusisastic painter. He was very found of my little drawings coloured with felt-pens, and encouraged me to show them around. Thanks to him, I started to dedicate some time to what I liked most and attended art classes from 2008 to 2011. I now prefer to work alone to avoid being influenced.
Practising abstract, as a way to improve my handling the colours, I discovered how liberating and expressive abstraction is. In fact, creating in different styles allows you to externalize a larger scale of feelings. Therefore.. my gallery is not homogeneous.
Under my name of Da Ros, I participated to:
After I changed my name in Breda (my grandmother’s name), I attended:
Six of my works have been selected to be shown on screen at the Saatchi gallery in London.