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Anne Iris Caillette.jpg

Let the colour emerge, the gestures appear, the form reveal itself, and the work emerge.


I paint to make the colours vibrate, to mix materials, for the feeling of the brush on the paper, for the sound of the palette knife on the canvas, the odour of the pigments, to look for light in the depths, for the surprise of the viewers and above all for the stars in their eyes.



The gluttony of colours

I don’t attempt to put my thoughts or ideas on paper. I simply accept what comes, what passes by; I allow creation to emerge organically. I apply colour to the canvas, then another colour, and just let it happen. My motivation, my inspiration comes from colour. When I have my paper or canvas in front of me, I look at the pots of paint and I let myself be seduced by one colour “how beautiful is this blue!” It’s as if I’m a glutton for colour. It can happen that when I open a pot of turquoise paint I let escape an “Mmmm”, no matter should someone say “you can’t eat that”.

For the last year I have worked on light and with light.  I work more so with white and play with the complimentary colours and their contrasts.



One could easily describe my painting style as gestural.  I started by painting many works with bands, using different sized spatulas with a gesture that was repetitive, straight, regular and relaxing; a gesture I associated with those of Buddhists who rake their gardens of white pebbles – a Zen gesture that frees one’s mind of thoughts.

Since I have moved onto larger formats, my style has transformed –moving towards more curved and rounded gestures. For the smaller formats, the movement comes from the wrist. The larger the format, the larger the movement – it comes from the elbow and then the shoulder. In the largest formats the whole body is invested in the gesture- it sets itself in motion returning always to the canvas.



Viewers say that my work is energising which, I have to admit, really pleases me. The first transportation is incited by the work of the painting itself; one is then influenced by the title of the work. I really want my painting to have that effect on the viewer, that he or she leaves reinvigorated and in a pleasant mood. I like to think that my work radiates a wave of well-being and happiness, that it diffuses particles of benevolence.

During exhibitions, I particularly like the exchanges I have with visitors and to hear their individual views and what they feel when they look at my paintings.

I find my energy in art, creativity and the imagination. To talk about colour, painting, ideas, and creativity fills me with joy and desire.


Work titles

I like that the titles of my paintings take the viewers on a second voyage. The first voyage is that inspired by the style of the painting itself and the second, that inspired by the title.

I take great pleasure in finding the titles of my works.

For the last exhibitions, my titles were composed of ‘unused’ words. I provide the viewers with a lexicon with the definition of the words used. The public seem to love that and choose words from the lexicon to write their appreciations in the visitors’ book. It leaves a trace of an amusing and aesthetic vocabulary, which I love to re-read.


Artistic background :

I have always drawn and painted. As a little child, I would take my crayons to the swimming pool. After a number of years of drawing, as an adolescent I completed my high school qualification specialising in visual art and art history. I then went on to study art history at university.

Further on, I undertook numerous art courses –watercolours, gallery drawing classes and I created works based on photographs of flowers.

At almost 40 years of age, I discovered the artist’s workshop of Olivier Wahl, whereby one simply paints with a project or a starting idea. And so, a new world was opened to me – that of abstract painting.

Since 2014, I have been working with a collective of artists who frequently exhibit their works. I have progressed from being a ‘hobby’ painter to that of true artist. With the sculptor, CatD, friend and colleague, I tried working with stone but I found it lacked colour!

Cheffe de file du Néo-pop-romantisme :

La création de ce mouvement artistique procède de l’importance de poser ce qui me motive dans la pratique artistique. Plus j'écrivais le manifeste de ce mouvement artistique et plus j'y voyais des parallèles avec ma vision de la vie : être au coeur des émotions AVEC légèreté !
Dans ma peinture romantique, lyrique, qui aspire à la réflexion, la méditation ou encore la colère, j'intègre des éléments inattendus
(comme des panneaux de signalisation). Ces pieds de nez à la zénitude, la facétie, la farce et la grimace sont les petites touches dont j'enfarine la vie comme je saupoudre mes toiles.

Aux rythmes de mes contacts artistiques j’ai profondément ressenti l’enthousiasme que provoque le néo-pop-romantisme et l’adhésion à ce mouvement qui allie la joie et l'engagement. Engagement à dénoncer les dérives de notre société et engagement à rester soi,
ancré. De sorte qu’il m'a paru évident de créer un festival pour rassembler, autour d’une célébration des arts, tous ces artistes qui se
retrouvent et s’engagent dans le néo-pop-romantisme !.

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