Pierre-Yves Bohm develops a daily workshop practice, slow, close to introspection and away from any school or artistic movement. In this fight with himself and with material, it is a question of reinventing the pictorial practice, of making it his own in order to express his ideas and feelings and to confer on it what he calls "a vital load".

By puncturing the canvas, spreading the paint from the front and back, leaching out the work with turpentine, multiplying layers and colored constellations, he applies himself to a meticulous distorsion, and covering of the pattern. Following a proven system, the artist invests his canvases with a vibratory force and injects an active, almost magical charge to the matter. Could it be a way to claim pure visual expression as the sole subject of his paintings ?
At the heart of his artistic process is the willingness to dominate, cover up or abstract the design in order to only keep the visuel density. It is about keeping away, pushing back every possible literal explanation, escape any historical or societal truth in order to universalize it. It is about displaying an enigma in order to foil an evidence that would be too engaging, too fast or too simple.

"I take the time. I like the idea that we can still spend time. It's not cheesy not to run. ", Pierre-Yves Bohm.