Dessin : Alain Goetschystudied at the Ecole des Beaux-Arts in Lyon (graduated in 1978), then the history of art and drawing at the faculty of Strasbourg.

Whether it is with dry pastels, gold inks, or graphite, it is always
for me DRAWING.The oldest trace on the wall, the bleeding of the chisel, the chisel, the
Gouge is DRAWING.
“Scientific” definition: Grapho-motor activity mobilizing a system
external denotations that allows to express graphically concepts. It’s a
learned language (Baldy 2011, Cohn 2012, Picard & Zarhbouch 2014). This language
nonverbal is based on largely polysemic graphic signifiers (carriers of several
sense, for example the ovoid shape or the line segment (line), which may mean
context a head with hair, a hand with fingers, or a sun with its rays) and
conventional (shared within a given culture).
In its very etymology – that of design, of the Italian disegno -, the word DRAWING refers to
the project idea. All DRAWING proceeds from the formatting of a thinking in action that develops
and who knows all kinds of states, in the multiplicity of his wanderings and his moods. In
that, contemporary art remains what it has always been, the privileged place of all
projections and all experiences, a territory of freedom.
Why continue this archaic act of DRAW, if not to see his thought in
acts, unconscious acts, traces of unconscious thoughts.

When I am on the DRAW of an olive tree in the wind I feel the breath in the workshop, when I
I am on the representation of a forest, I hear it cracking, the DRAW of a wave, the salt on the
If it’s a means of expression to all creators and a universal language, for me the
great strength and my passion for this expression come from the fragility of the trait that
pushes, even ahead of the imagination