"A Pointillism in Free Cloisonnism" is fully in line with the philosophical and artistic continuity of my approach, deepening the dialogue between pictorial materiality and digital language. This piece, a reinterpretive homage to Van Gogh's "Young Man with a Cap," critically synthesizes two major currents of Impressionism—pointillism and cloisonnism—while transposing them into a contemporary visual grammar, that of subrealism and technological hybridization.

Formally, I deconstruct the systematic rigor of pointillism—traditionally based on optics and the methodical division of brushstrokes—to infuse it with an expressive, almost organic gestural quality. "Free cloisonnism," for its part, evokes less the closed circles of the Pont-Aven School than a digital fragmentation, as if the contours were no longer traced but generated, hatched, subject to glitches or random errors. The physical canvas, executed in acrylic, is photographed and then digitally reprocessed through layers—additions of digital paint, minimalist animations, pixel disturbances. This very process becomes an allegory of contemporary perception: neither entirely analog nor purely digital, but constructed in the in-between.

Philosophically, the work questions the notion of technical freedom. I am not seeking to imitate Van Gogh, but to extend his experimental spirit into a medium that did not exist in his time. Pointillism, in its essence, was already an attempt to rationalize light; I use it to evoke screen light, RGB vibration, and attentional fragmentation. Cloisonnism, for its part, becomes a metaphor for interfaces, software windows, and the separations that structure our visual experience without ever completely compartmentalizing the flow.

The Xanthopsia collection—with its dominant yellow, the color of utopia and excessive light—resonates particularly well here. Van Gogh used yellow as a vehicle for raw emotion, sometimes to the point of psychological tension. I reactivate this ambivalence: yellow is no longer just a pigment, but also digital luminance, screen saturation, a mental filter through which we sometimes perceive the world. It embodies this duality dear to Van Gogh—between joy and anguish, between nature and artifice—but transposed into the digital age, where screens become both windows and barriers.

This reinterpretation not only modernizes Van Gogh; it uses his work as a starting point for a broader reflection on how we create, perceive, and interpret images today. It poses essential questions: how does digital technology influence our relationship with the artist's hand? How do technological artifacts—white pixels, broken frames, minimal animations—become the new symptoms of an imperfect beauty, yet human nonetheless?

I thus attempt to show that digital art is not a denial of the physical, but its spectral extension—a way of painting with light, with time, with error, and of replaying, in the space of the screen, the great aesthetic debates born on the canvas.

A Pointillism in Free Cloisonnism: Xanthopsia 162

Tribute to Van Gogh : « Young man with cap  »

Original in private collection

 #treeskulltown digital art version :

2160 x 3840 px / 4K MP4 / 230 Mo / 15 fps / 1/1 édition