Safflower Oil

Light and atmosphere are central subjects of my work.
The transparency of Lac Léman, the clarity of the air, and the subtle shifts of light across water require clean and luminous whites.

For this reason, I use safflower oil as my primary medium.

I began using it almost by accident and gradually adapted my entire process to its qualities. It dries more slowly than linseed oil but preserves light passages without yellowing, allowing delicate atmospheric effects to remain clear over time.


Paper

I paint with oil on paper rather than canvas. The paper is specially made for oil painting, yet many viewers initially mistake the finished work for watercolor.

I enjoy this ambiguity. The lightness of paper becomes part of the appearance of the work itself. It is also practical, lightweight for hanging on the wall without making holes, can use just “patafix” or rolled paper scotch.


Grounds

Sometimes I paint directly on oil paper, sometimes I prepare the surface with oil primer or gesso.
I use two different types of primers.

The first is an oil ground made from the remaining paint left on my palette after each painting session. The collected paint is reused rather than discarded, creating unique surfaces and subtle textures. The remains of one painting often become the foundation of another.

The second is an absorbent special gesso ground. It absorbs oil from the paint and produces an exceptionally matte surface. I particularly enjoy using it for smaller formats.

Each ground changes the behavior of the paint and creates a different visual atmosphere.


Paint

I work with artist-grade oil paints produced by established and responsible manufacturers.

Among the brands I use are Lefranc Bourgeois, Van Gogh, and Master Class. Rather than pursuing luxury materials, I look for consistency, permanence, and reliable pigment quality. The painting itself is always more important than the price of the paint.



Presentation

Each painting is mounted in a hand-painted passé-partout. Every color is selected for each painting (also oil paint).

The passé-partout is not separate from the painting. It is an extension of the composition.

Against a white wall, these colored borders create a visual accent and transform the works into small luminous windows.

I often pair my paintings with vintage frames found at flea markets and brocantes.

Their aged gold and bronze surfaces complement the paintings naturally and reinforce their connection to the Impressionist tradition. They carry a sense of history and evoke the atmosphere of the early twentieth century.

This choice is also practical and sustainable. Reusing existing frames is both more economical and more environmentally responsible than commissioning new ones, particularly in Switzerland.