"Rectoversion teaches this: what opposes a world with another is not very significant: a strip of wood, just a subjective point of view, quite relative. In fact, there is no separation, no conflict. All one needs to do is keep silent and go through." Following Marcel Duchamp who wrote: "the onlooker makes the painting", "Rectoversion" today declares: "the onlooker makes the front (recto)".

By painting our paintings not only on the visible side (recto) but also on the hidden side (verso), we have discovered a virgin scope of investigation. This plastic process whereby we paint on both sides of a painting has enabled us to continue painting in a strictly bi-dimensional manner and at the same time propose a new plastic approach. We situate this practice within a more general critical assessment of the ideology of rectitude. This rectitude is symbolically masculine and has led to the depreciation of all that is associated with the back (verso) to the exclusive benefit of all that is rectilinear and associated with the front (recto).

"Rectoversion", a plastic proposal born of the questioning of the back, is part of a more general context whereby symbolically feminine values progress and cast a different light on everything that can be linked to the back. At the same time, "Rectoversion" cannot be assimilated with a reversion or an inversion.
The aim is not to establish the back as the front or vice-versa. Fundamentally open to the other, the back and the front feed off each other's differences rather than denying the existence of the other. By proposing a new approach to a painting, "Rectoversion" positions itself in a new world where the rational and the irrational become complimentary but where differences remain...(...)...

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