Untitled

The low-angle view of this blue tractor, as if dropped by chance in the middle of the field, is the major element of the composition. This is subtly divided vertically by the perfectly straight tree trunk, defining the viewer's axis of perception. This duality is reinforced by the artist's color palette, offering a glimpse of the tumult of a sky divided between a mild spring day and a late-summer thunderstorm. The artist reinforces this incoherence by playing with the light deposited on what appears to be a meadow. On the one hand, the shadows are drawn by a setting sun; on the other, the green grass doesn't seem to lend itself to this. In the center, a silhouette with an intentionally unrealistic perspective stares back at the viewer. Could it be his reflection? As we approach, this figure, whose face is not perceptible, is probably a self-portrait wearing an African mask. The artist seems to be questioning his place as a young black artist with an immigrant background in an art history that is constantly being written. Using the codes of ancient painting and the great painters of the late 19th century, the artist applies matter in strokes, the mark of which is a form. He expresses himself here in the image of those who revolutionized the history of art by painting what they felt.