Generally, I create ‘imaginary portraits’, whose source does not bear a resemblance. My portraits are rather whirlpools, gardens or other natural forces to which I give eyes, a mouth and the other attributes of human heads. When it is about ‘real’ people who are part of my own life, the importance of the imagination rather than of realism contributes to give these people a mystical depth, almost divine which is the same depth that they carry for me.

       However, when it is about already mythological people whom I invent or reinvent, I do not often have the desire to derive faces which make them resemble to no matter whom. I prefer to bring to light labyrinths, spirals and flowers instead of eyes and ears.

        From time to time, I paint very realistic portraits, but is then to introduce fauna, plant ecology, minerals, objects and imaginary ways inside these faces. It is another way of giving broadness to the portraits suitable with the life of these people: What interests me; it is less the appearance of the face than the thoughts and vital forces in their interior.

       For each character, I generally paint several faces very different from each other. This corresponds to the truth that each one of us has a great number of interior faces.

June 2001, Paris

Ody Saban