Bruno Hoopka

Lille, France

The technique I use is relatively simple and does not conceal any “trade” secrets. A close examination of the canvas is enough to see that I do not use medium, varnish, or particular tricks.

I like creating paintings where geometrical patterns interconnect and enter into dialogue, where regular flat-tints are dominant, perfectly circumscribed with lines drawn with set square and compass. I also like to experiment with colours and work with mixes, trying varying juxtapositions, blending tonalities since each touch of colour within the space of the canvas, even the most discrete, influences the overall perception of the painting.

The painting is constructed in stages. First I prepare a drawing on paper that I adjust and perfect until I am happy with it. Once the drawing is definitive, I transfer it to canvas and then apply the colours. I frequently have the colours planned out in my mind already by this stage. Often the drawing itself inspires the colours that I will use. Then come the “details,”  the finishing stage.

I generally look for combinations of purely imagined shapes and colours. Nevertheless, I know that it is not easy to “abstract oneself” from all reality. The brain is a reservoir inhabited by memories, knowledge, and impressions of the moment, and it is often impossible, when a picture comes into one’s mind, to distinguish the part of pure invention from that of the subconscious resurgence of images recorded by the eye. I realize that I sometimes drift into visual references that are almost mechanical. It is the irrational part of the process of creation which makes abstract painting a fascinating exploration: that of the intuitive mechanisms of the mind…

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