Artistic commitment
For more than forty years, my artistic practice has developed through continuous research into the relationship between matter, nature, the cosmos and human experience. Painting is a way of investigating the visible and invisible dimensions of existence, bringing together scientific observation, mythology, symbolism and personal imagination.
My work evolves through a dialogue between materials, techniques and ideas. Each series opens a different field of inquiry, while recurring questions connect works made across different periods. Water, planets, metals, eggs, light and movement become more than subjects: they are points of departure for exploring transformation, life, death, balance and the forces that shape our world.
My commitment is to pursue this research through an independent and evolving pictorial language, allowing each work to emerge from sustained observation, experimentation and lived experience. Rather than illustrating ideas, I seek to give them a physical presence through painting and the material qualities of the work.
Artistic practice remains an ongoing process of discovery: a way of questioning our place in the universe and giving form to what cannot always be expressed in words.
SERIES STATEMENT
1. No Title: Tatami’s (1986–1988)
Following a six-month stay in Tokyo in 1985-1986, I created a series of four oil paintings, each composed of two panels. Each panel follows the dimensions and proportions of a traditional Japanese tatami . The works emerged from my encounter with Japanese space, but also from an intense physical and emotional experience of gravity, weight, balance and movement. The paired panels create a tension between stability and suspension, presence and absence, stillness and inner movement.
2. 64: Back to the Eighties (1989)
Symbolic systems are dismantled and reassembled, allowing meaning to emerge through fragmentation and visual order.
3. Hommage à Jean Fouquet – Deconstruction
Historical imagery is deconstructed to question how memory, power, and representation endure over time.
4. Planets (1992–1995)
The planet series explores the relationship between the human body and the cosmic real. Floating spheres, fragmental figures and suspended forms create a space in which gravity, movement and emotion seem to coexist, The works evoke a sense of vulnarability and wonder, while questioning the position of the individual within a larger, almost timeless universe.
5. The Five Phases (1995–1999)
Inspired by elemental cycles, this series explores transformation as a balanced continuum rather than a linear progression.
6. Flowers and the City of Leh (2000-2020)
Nature and place intersect in a dialogue between fragility, environment, and human presence.
7. Water (2002–2003)
Fluidity and transparency become means to reflect on impermanence and quiet transformation.
8. Sepia (2008–2009)
Through a reduced palette, time itself becomes material — evoking memory, erosion, and contemplation.
9. Hanami (2011–2014)
The fleeting beauty of blossoms unfolds into a sustained meditation on transience and attention.
10. Le Condamné à Mort (2013)
A confrontation with mortality, where painting holds tension between violence, silence, and dignity.
11. Meditation ADN (2018)
Biological structure becomes a contemplative field, linking inner matter to universal order.
12. Fragmentation: Agnès Sorel, the Angels and the Child (2019)
Historical femininity is revisited and dismantled, revealing layered narratives of beauty, power, and absence.
13. Corona Series (2019–2021)
Created during global rupture, this body of work reflects isolation, vulnerability, and resilience through restraint.
14. Saint George and the Dragon (2022)
Myth is reinterpreted as an inner struggle — conflict transformed into balance.
15. Letting Go, Loss, Separation, Disappearance, Death (2022–2025)
Ephemeral forms embody cycles of connection and rupture, holding life and disappearance in delicate equilibrium.
16. The 2026 Series- Spirits, Matter and Transformation
In this 2026 series, I continue my long-standing artistic investigation into the relationship between nature, matter and the invisible forces that shape existence.
Through a personal pictorial language of circles, dots, layers and gestures, recognisable forms gradually move towards abstraction. Animals, eggs, water and luminous materials become presences rather than representations: elements through which life, energy and transformation can be explored.
The works bring together the organic and the cosmic, the tangible and the intangible. The horse appears as a living, almost spiritual presence, while the egg evokes gestation, multiplication and the potential for new life. Water, gold and silver suggest changing states of matter, reflection and the circulation of energy.
The titles — Spirit of the Forest, Spirit of Gold and Silver, Spirit of Water and Eggs and Healing Spirit — evoke a world in which matter is never entirely inert. Everything seems to participate in a continuous process of becoming.
Rather than illustrating a fixed mythology, Bompy creates an open visual universe in which forms, materials and associations remain in motion. The paintings invite us to look beyond appearances and to experience the world as a place of interconnected forces, vulnerability and renewal.
This series continues an artistic commitment sustained over four decades: to explore, through painting, the meeting point between the visible world and what lies beyond it.