​ Observation drawing is the genesis of my artistic approach.  Around the age of 9, I needed to represent objects in drawing, the people or elements of nature that realistically surrounded me.

At 16, it was under the influence of my teachers that abstract art arose in my artistic life.  It will then represent the major part of my production.__ Art history lessons allow me to understand the approach of many artists and to know the movements of painting and their evolution.   I am interested in patchwork as well as joyful patterns and various fabric textures. colored pigment, determined to pursue a career in the visual arts, strongly influenced by the painter Alfred Pellan.

Patterns and textures then disappear from my approach, while gradients and fades take shape.  I discover the application of acrylic in transparent layers and I am passionate about it almost as much as the game warm and cold colors.

My completely abstract period ends around 2008, when I work on the female nude. This return to the figurative will allow me to reconcile with my "Cartesian" side.  I then create landscapes, especially trees or activities in nature.  My paintings will be very textured.  I will abandon the transparency and I will apply the paint with a palette knife to obtain richer, more real textures and less blended colors.

Today, I paint with a brush and a knife in a varied semi-abstract gesture of landscapes, characters, flowers, buildings which still reflect in the colors and patterns, the influence of my favorite artist Alfred Pellan._ I am currently doing what looks like me. My work is avant-garde and modern even if I approach traditional themes.   I persevere in my search for movement and contrast.__ My paintings are always different from each other, I don't tend to tirelessly repeat the same elements by only changing them in place. 

​ Abstract art may return to my approach, but I will keep the free gesture, textures and contrasting colors, these elements of plastic language that are the basis of my practice.

Anne Cardin