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For me the act of paint­ing is sim­ple and com­plex at the same time, because it is made of present instants super­im­posed and jux­ta­posed, await­ing a moment that rais­es its fin­ger and tells: “We may stop there!” If we miss this moment anoth­er one might show up. The act of paint­ing is more ‘ner­vous’ for me than the act of carv­ing. Only in draw­ing these two moments are bound togeth­er: tran­quil­i­ty and nervousness.

It’s like play­ing ping pong, the ball always comes back, the chal­lenge is being there to bounce it off the table.

For me, wor­ry is part of paint­ing, patience is part of sculp­ture. Drawing uses both. What is com­mon to all three is a nec­es­sary presence.

Michel Touret paints on dif­fer­ent sup­ports: wood, ply­wood, isorel, can­vas­es, paper, and walls as needed.

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