I don’t go past it every day, but I noticed the splendid Gothic archway on the porch forty years ago. It was at Les Orpellières that it began to take form. In painting, what always interests me the most is the architecture of the picture and the form. I say it’s not, I think that Balthus was an architect and a mason of painting. There, this is indeed exactly the impression one has; the figures are expelled, yet, at the same time, as if hanging in space… Because each one of these characters – I haven’t dared count them, it would take far too much time – also possesses weight.The chapel, at that time, was in very poor condition. André Gélis ² sent me a letter, in which my name was mentioned, and which said that the site was to be preserved. Sometimes, I wonder why I like such and such a painter. These are paintings built of stone, but on very strong foundations. There are, in spite of everything, a few similarities with what you do, aren’t there? Yes, but then, when I look at the chapel, I realize that what I have just said, about the painter architect and mason, me, I’m an architect and a mason too, but my constructions are jerry-built! They are, one cannot say “highly organic,” but quite simply, organic. It’s perhaps not innocent to have chosen a chapel that once belonged to a lazar-house either… It’s received, or lost, a lot blood, I’m not sure which.

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A kind of game of complicity arises between the artist and the support, it’s the support that reveals the image, like a skin eruption. For example, are you planning techno music concerts in this space? But I know what would go down really well at the chapel: quite simply, charity sales for lepers.

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Please log in as a member or disable any anonymizers and try again.I really don’t think I’m after some kind of conversion. Luke looked after those in suffering and that greatly touches me. And I remember very well that at the beginning, you wanted to use only white and blue for the figures… It is a kind of tribute to Virginia creeper, and of course, to the lepers – about whom Italo Calvino writes in the splendid book I’m reading at the moment ³.And then, it’s true, he is the patron of doctors and of painters. If you want, in a meal, the main dish would be the chapel, and my painting has sort of become a postprandial or an appetizer.This is not at all the case with the chapel, which, on the contrary, exudes a kind of permanence… The dome is just blue and white, and yet, in the middle, at the summit, there’s a wine-red rosette, red, blood-red. They were gasps of oxygen compared with my four meter by two pictures!Yes, and for my two self-proclaimed orders, I was the guest, at Les Orpellières, of a winegrower who had shut up shop in 1950; at the chapel, I stayed with an apostle, which was already much more… So probably Luke the Apostle’s hospitality had something to do with it. In fact, all the frescos of the chapel are elaborate and very constructed. It’s very curious this association, that I’d associated the mosque at Pristina with the chapel of St. One of them even preserves marks of Virginia creeper that I deliberately didn’t remove.But if it’s porous, rough, or even holed, that doesn’t worry me! On the contrary…, if there are, for example, hollows, well these hollows can become part of a figure’s body. It’s odd – as I was telling somebody the other day – the beginning of the chapel coincided with the book you gave me on the Chauvet ⁴ caves. That comparison also stems from the irregularity of the support? You know I’ve visited prehistoric caves: Font-de-Gaume, in the Dordogne, and Pech-Merle too that I visited with your brother, Malcolm.