iking alone in the mountains (15 to 20 days treks), tent and stove in my pack, is now a long time summer habit of mine. Those rather tough but rewarding walks are salutary to health and spirits and also have an strong influence on my imagination and my painting.
Abstract painting may be understood as a self-referring expression needing no links to an external motif. Yet up to now I still paint having in mind the enlighting times spent high up in the open. Though resulting pictures may be a far-off allusion to my experience through various places, the reference remains necessary as a private guide to the painter I am.
ack in my studio I don’t need to make a special effort to remember the details of my trips. Recalls often arise spontaneously because my memory has been very deeply impressed.

While I’m painting my only concern is on the material part of the handling and doing: composition, pigments, paint consistencies, the way they behave, the way they make sense to the eye.
A definite recall may precisely be evoked by a picture when it’s already fairly set or even after it’s completely finished. A painting may allude to a peculiar moment, the light bathing a wonderful area, an impressive face of rock, making it easier to choose a title for it. But this reference is not cardinal and I hope the pictures are able to stand alone for themselves even if non-descriptive.

The spectator’s imagination goes its way regardless of the painter's concerns especially as I mind to let my compositions stay open:

• pictures may be regarded as frontal with no horizon line, as well as seen from above like a bird's-eye or map view,

• the execution is made with thick reliefs so the light from outside sources plays on the picture surface and its values, making its appearance turn with their changes,

• my last paintings show a range of unsaturted hues and neighbor values favoring a sensitive approach and subjective versatility.

Lookers on are quite free of their own wanderings and fancy. Each one looks at a same painting differently according to the quest or abandon of the moment.

he painting is made by the spectator. There is no contradiction in differences between personal interpretations, provided a picture has a firm presence – hoping some of mine do – to assist dream and imagination.
Bernard Jeufroy Mars 2012