I have had in mind for a long time a painting by Cranach the elder that P. Pantin shows the suicide of Lucrece. Lucrece is usually painted in the nude. But here, she is not. She is modestly covered by a very thin veil, scarcely made visible in the painting by an extremely thin white outline. Thus her body is dressed, but it does not seem to be. And the dagger that Lucrece holds, before piercing her body, will have to cut through and tear that veil. The veil is between the body and the suicide weapon; just as for me, between the cutter and the paper, there is this thin film that I tear. This veil is a latent zone and moment. Violence is not expressed by loud colors or hectic gesture, but by the fear suggested by a moment of latency, and its frailty: what will happen? The veil will be torn, the body attacked, but first a moment of suspens that condenses all the violence.With the cutter, I also tear the veil that covers the paper and I try to make it "bleed" meaning. Then, as color is added, there is something emerging that makes me think and say that from the thickness of the cut paper, a whole world can surface. In the materiality of paper, in the whiteness of that not yet deflowered body, there already is infinity of possibilities. And that is what the cutter has to show. That is why iI keep on trying- always whis the same tool and the same technique- to bring into view out of these possibilities generations of drawings, formally very different but having the same symbolic principle.: an attack in patience, latency, duration, culminating in a terminal act of revelation.