At a time when a virus is bringing the planet to its knees, when, unable to cope, governments around the world are confiscating individual liberties, the artist recounts his imprisonment. Caging, with its golden bars, perfectly illustrates this feeling of "luxury" prison, our new human condition in 2020.
The triptych painting follows the rhythm of the painter's day: there is a time for reading and reflection, another for creation and work, and then comes the night, a time for rest and dreaming. Absorbed by the reading of "Sapiens", the world bestseller of the moment, the spirit of the artist can escape the confinement in a flapping of wings. This history of Humanity brings us back to another concern: after our species has managed to dominate the planet in order to better destroy its resources of all kinds, what about our future associated with that of the rest of the living world? In the center of the canvas, we observe the painter at work. The canvas within the canvas is still blank: will COVID inspire a new gush? Will this need to fight the disease on a different ground than the one it would also like to annihilate? That of culture, that "non-essential" capital good?
The panther and the orangutan appear as if to remind us that there is more important than the consequences of COVID. The great ape has the posture of a wise man, he's a whistle-blower who would warn us about our behaviour that endangers biodiversity. In the last part of the painting, the sleeping artist is watched over by three animals, like three fairies with ambiguous intentions. In these uncertain times, is the spider a somewhat frightening sword of Damocles, a dark omen, or rather a symbol of creativity and regenerated female energy? Is the "white lady" a funeral bird or does she carry a message of enlightening wisdom? Finally, the snake: an additional threat or a symbol of regeneration, of possible rebirth after a critical phase? Between anxiety-provoking reality and dreams from elsewhere, themes dear to the artist are revisited.