About the painting of S. Polke, Bertrand Lamarche-Vadel wrote: "While it is clear that the superposition is a ustensilaire preferred mode of manufacture of paint to Polke is the condition that is well specifically established subvertion which is the challenge of any stratified precession of any hierarchy of perception. And economy of the infra-thin guiding, even secretly, or occult manner or involuntary gesture consists precisely this intention well regarded by Claude Gintz to offer a "no prospect fashion seen behind a glass surface."
Ivan Fayard, french artist living and working in paris, develops all his art work on an endless investigation of all the terms which together or in turn what we call painting. The "Souffles" contrast at any point in their mode of production, with targets set of "Mouches" (flies) to concentric circles, round and slowly painted. The "Souffles" are paintings where Ivan Fayard substituted with brushes to the use of his single breath as a physical projection of himself. Such an act he would fall introspection? Self-portrait? For these "Souffles", a few seconds of expired air were required. Like a haiku whispered.