Stephan Laplanche's abstract painting is outside the fashions of contemporary art in the continuity of the second generation of American abstract expressionists, Norman Bluhm, Joan Mitchell, Richard Diebenkorn... thus prolonging the great movement of what is called "action painting". In 1985 he attended the Janos Ber workshop. He learns observation, charcoal and oil techniques and focuses on a pictorial perspective through problems of composition, mass, rhythm and expression. Touched by the emotional impact of the painting of a Sam Francis or a Bram Van Velde, Stephan Laplanche immerses himself in abstraction, determined to explore the freedom and power of expression it allows. At home, the work still seems to be in progress. The canvas is the theatre of the struggle between creation and destruction. It is from this struggle, from the traces of this struggle that emotion arises. Painting is the experience of time and what remains of it. Painting is the attempt to appropriate time and make it a melting point. Overlapping spots or structured constructions, he uses colours and drawing to provoke precarious balances and a movement that reflects the painting in the making, its energy. Its colours are intense, sometimes at the limit of saturation. Unknown, unwanted, unconscious colours only appear in this balance of power, it is what he calls "the erotic of colour". His work lies between Hartung's self-assertion "action" and withdrawal, the attention paid to the accidental but also the respect due to the material. With these incessant comings and goings, he bet that the canvas is the place to discover a personal and mysterious language, and the possibility to share it. For Laplanche, painting is not only the creation of an object resulting from a personal action or desire, it is the meeting point with the oldest and most immediate human artistic form, where the raw desire to leave a trace and the experience of time outside oneself are mixed in a simple gesture - a brush stroke on a support. Laplanche takes up what Dubuffet says about this simple gesture: "he is always on the edge of the most filthy and miserable smear and the smallest miracle".