Initially, in my painting, until the mid-1980s, I was preoccupied with images of life in the big city. Then, I spontaneously focused my interest on the human being, the protagonist of these images.

But who is the urban man, crushed by the technology, consumption and pollution of our time?

The artist observes from a distance and records his distant images, just as satellite television sends its own cold images to everyone, without participation.

The human figure is now common everywhere, all over the world. The local element is what gives the character of our actions. In my painting, the archaic style of drawing, with the depiction-narration always in profile, revives the form of shadow theatre. The man proposed is a modern version of the figure of the caricature. The scenario remains the same. The authoritarian power of the pasha is invisible but always present.

My man has no identity. He lacks emotion. He is plasticized. A dummy. He moves through the spaces of everyday life to further dramatize the impression. He is essentially a blurred image of a man. Despite the stripping, however, the figure still remains distinct, as if awaiting the accessories of communication.

The future of hope is the hope of the future.