I had to fall in love in front of the nape of the neck of one of the spinners painted by Velasquez, during my visit to the museum of Prado, so that to become aware that this subject is under my eyes every day when I teach the drawing or the painting.
Of return in the classroom, I began a series of fast drawings, in the line, the neck of my pupils. The drawn draftsman, a little as the biter bit.
Very fast, the painting settled down to take over from the pencil which had already highlighted the abstraction in this selection of the human body, simplifying extremely the lines to take the main part a little as the mathematical rule: a " necessary and sufficient condition " so that the thing exists.
The hair is handled with an agile and circling brush while the complexion imposes chromatic agreements " built " and modelled to translate some square centimeters of skin.
The bias from this point of view with regard to the model, which produces a kind of "portrait-anti-portrait", opens the door of the imagination of the spectator we invent the face, the body, the intention of the person represented with a certain mixed dose of eroticism.
When they are gathered, they train a crowd turning the back us, as occupied on examination of their own interiorities, lifting in us basic questionings of discoveries: who is - her? What does she make? Of what does she think? For what does she look?
Just some simple questions which occupy a big part of our lives …