A. Lécuru




QUESTION

What are the most interesting subjects you work on ? And particuliarly for mobile painting ?

A.L.
My main concern is about figure : which can surge through a particular position, or expression. Figure in ambivalent situations, I would say. The background of my paintings is usually quite neutral, but it doesn't exclude the question of landscape. A chair can be a landscape, too.
Mobile devices, like phones, allow you to rapidly catch main structures : a particular face, a particular light. They are not made for precise draws in my opinion, they are more like a rough sketchbook.

QUESTION
How do you define a successful painting ?

A.L.
This can't be answered that easily : crucial aspects really depend of your own mood, and it changes in each painting, or drawing. Sometimes you feel you didn't reach the point, and you have to work further on a particular detail, or to change the whole background because the color is not appropriated anymore. Sometimes you work very quickly and it's here, and there is nothing more to add. But a painting is never "succesful" I think. What is missing can be the most interesting. The difficulty is to make the spectator feeling that missing thing.

QUESTION
In what ways do you combine Magic Doodle and what aspects or functions do you find most useful when you’re painting?

A.L.
The possibility to work very quickly upon very large areas, without waiting for them to get dried. To cancel it, to go back, to go further again. That's a good "testing tool".

I only use one or two brush shapes. I feel most of them useless once I find the proper ones. The advantage of having many bruhes is that you can choose your favorite ones. But honestly there would be only a plain brush it would still be okay. If you can vary the size and opacity, and that the brush is perfectly smooth and well responding, that's fine. The main concern is how you use it.

Painting application can allow you to jump over some traditionnal stages, but that's mainly because they allow you to draw again and again and again. It's a good sketch book.

QUESTION
Which artists or subject matter has had the most impact on your work?

A.L.
All of them, and obviously some masters : Giorgione, Rembrandt, Van Gogh, Picasso, Bacon... But you can find some day, in a very small museum in the countryside, something amazing and it will stick in your mind. Or some canvas from an unknown painter in the restroom of a friend. And it can change the way you see things more than everything else.

My influences are what I just read or see. For example I just finished reading Miquel Barcelo's journal, and yesteday I saw "Radio on". Then I do a drawing, and inside there will be something from Barcelo and Radio On. Surely I am the only one to feel that, but may be the spectator will feel something by himself. Not surely the name of Barcelo or the movie Radio On, but a kind of echo.

Of course that's a bit provocative : I have all the influences that a 21st century's painter can't avoid. He can't deny the history of painting, nor this very fast and dense 20th century. The problem is that now, you have a possible instant view over thousands of influences, because of the internet. More than ever, you have to make severe choices. That's the most difficult part of being an artist now, I think. Nobody will show you the way to your vision. Vision has never been as personnal as now.


QUESTION
Can you define your style?

A.L.
No. Defining styles for painters is like storing people in boxes. It has an interest in art history, may be, but not for artists.

In some aspects, my work is close to classical painting. I try not to forget how paintings were made before, and how artists always put in question and re-arranged these technical issues. Nowadays materials combined with ancient techniques, that's pretty interesting.

QUESTION
Who are the artists or professionals you would like to work with ?

A.L.
To be honest, I rather like to work with people who have no idea about art more than the so called professionals. You can probably discover the most, outside the speeches. Or with an authentic galerist, someone who thrusts in you and is capable to follow you for a particular art project.

QUESTION
What advice can you give to people who would like to start digital mobile painting ?

A.L.
Being as curious as possible is a good quality, for sure. Like being persevering. Autistic in some cases.

To copy what they like, as art. To carefully observe it, how it is made. Once they feel sure of them, to forget it. It's inside. Art is technical, first. After, it's you. But, I guess all of that.


QUESTION
Where do all your ideas come from?

A.L.
The ideas come from a sensation of the world, some specific feeling I have about something. Then I look after what kind of figures: a person, a landscape, a particular object, which can be organized inside the painting in order to recall that feeling. After it's about how to paint it: you never know before you did it. It can take a very long time before some idea finds its way to be painted. Or it comes in the same day. As far as I know there are... no rules.

Some artists are real "processors" : I think about Steve Keene. This guy makes around 100 to 200 paintings a day, all the "same", very quickly, on crappy wood with some cheap industrial painting. That's pretty interesting and totally unusual : nobody can make money upon his work, as each painting costs around 30 dollars, and there are thousands of them. But each American has probably seen one.The only thing that really differs from one painting to another is the sentence he writes on it : for example some words coming from the song he's listening when he works. This is where his sensation of the world lies, I guess.

QUESTION
Once you have worked out the idea and decided to start on it, what is your process working ?

A.L.
To be entirely dedicated to it. Then the painting will tell you itself. You have to be very aware of that. Taking the retreat at the proper moment. But sometimes someone has an interesting opinion about what could be improved, and I change the canvas according to that. Without telling him, of course !