Alain Rouschmeyer - artiste figuratif

Intro TEXTE

In this piece, I wanted to explore the threshold between utility and abandonment. 
A bathroom, once intimate and clean, now becomes a raw site of deconstruction — a poetic ruin. 
This "décrochage" is both literal and metaphorical: a letting go, a dismantling, a process of erasure that leaves a visual echo. 
Through detail and composition, I sought to preserve a memory — not of comfort, but of passage.

DÉCROCHAGES (Detachments)

This piece delves into themes of identity, transformation, and the performative nature of the body. 
The shoes become silent witnesses, evoking paths taken, personas tried. 
The chair is both a stage and a resting place, an object between elegance and wildness. 
At its heart, the work questions how we inhabit our physical selves — or the myths we cast around them.

SMOKING & LEOPARD (Smoking & Leopard)

This piece captures a feminine presence suspended between introspection and discreet seduction. 
The composition plays on contrasts: the intensity of red, the minimalism of black and white, the warmth of flesh tones. 
It evokes a film still, a moment of paused emotion, both powerful and hushed. 
A tribute to posture, to mystery, and to the eternal elegance of the little black dress.

SA PETITE ROBE NOIRE (Her Little Black Dress)

This painting continues my series of suspended moments from daily life, where what’s about to happen matters as much as what’s shown. 
Here, music is absent but imminent, through objects and their poised quietness. 
The Radio Flyer cart, usually playful, becomes a vessel of memory, echoing the rigor and poetry of artistic preparation. 
As often in my work, the human presence is implied — evoked by objects and the silence they hold.

RADIO FLYER (Rehearsal about to begin)

With "CHEMIN FAISANT, MES GROLLES 1", Alain Rouschmeyer captures the quiet soul of everyday objects. 
These seemingly simple shoes become silent witnesses of a life journey, carriers of invisible stories and forgotten dust. 
The minimalist, almost graphic composition isolates the noble wear of the leather, magnifying this duo resting on the cool tiles, offering the viewer a gentle meditation on the passage of time and the traces left behind

CHEMIN FAISANT, MES GROLLES 1 (Along the Way, My Shoes 1)

In "CHEMIN FAISANT, SES GROLLES 1", Alain Rouschmeyer delves into the poetry of modest traces left by the walk. 
The abandoned shoes become portraits without faces, carrying within them the memory of passages, pauses, and fresh departures. 
The mineral background, inhabited by moss and subtle plants, converses with the soft darkness of the leather: a silent alchemy between humankind and the earth.

CHEMIN FAISANT, SES GROLLES 1 (Along the Way, Her Shoes 1)

With "CHEMIN FAISANT, MES GROLLES 2", Alain Rouschmeyer continues his tribute to silent companions of the road. 
Here, the industrial grid beneath, the playful roundness of a marble, and the worn leather weave a graphic dialogue between precision, memory, and tenderness. 
Every detail becomes a soft echo of journeys, moments of waiting, and hopes, crystallized in the suspended breath of the canvas.

CHEMIN FAISANT, MES GROLLES 2 (Along the Way, My Shoes 2)

With "CHEMIN FAISANT, SES GROLLES 2", Alain Rouschmeyer continues his poetic exploration of everyday footsteps. 
These simple, delicate feminine shoes, laid on a woven backdrop of light, evoke personal journeys, intimate pauses, and whispered departures. 
Every mark, every floral detail inside, becomes a gentle testament to a life moving humbly and beautifully forward.

CHEMIN FAISANT, SES GROLLES 2 (Along the Way, Her Shoes 2)

With "CHEMIN FAISANT, MES GROLLES 3", Alain Rouschmeyer weaves once again an intimate bond between abandoned objects and life's imprints. 
These bright orange Converse sneakers bear the weight of traveled paths, challenges embraced, and the playful dance of light and shadow on aged wood. 
The artist pays tribute to life etched in the smallest everyday details, using a vibrant, soulful palette.

CHEMIN FAISANT, MES GROLLES 3 (Along the Way, My Shoes 3)

With "CHEMIN FAISANT, SES GROLLES 3", Alain Rouschmeyer captures a suspended moment where human traces meet the remnants of play. 
These black heels, silent witnesses of fleeting passages or forgotten ceremonies, confront a child's whimsical universe — 
a tender tension between adulthood's solemnity and childhood’s freedom. 
The textured surface vibrates with this poetic contrast.

CHEMIN FAISANT, SES GROLLES 3 (Along the Way, Her Shoes 3)

With "CHEMIN FAISANT, MES GROLLES 4", Alain Rouschmeyer continues his tender exploration of everyday traces, 
where the wear of objects becomes a living memory. 
Each sole, each crease tells the story of a singular journey, 
through seasons and fleeting emotions. 
The scattered natural elements seal this intimate dialogue between humankind and earth.

CHEMIN FAISANT, MES GROLLES 4 (Along the Way, My Shoes 4)

"CHEMIN FAISANT, SES GROLLES 4" belongs to the series of intimate pathways, 
where each pair of shoes reflects a silent story. 
Here, femininity steps in with boldness and mystery, 
weaving between elegance, abandon, and suggested sensuality. 
The red lace, vibrant against the black leather, 
offers a striking counterpoint to the soft disappearance of steps.

CHEMIN FAISANT, SES GROLLES 4 (Along the Way, Her Shoes 4)

This painting is part of the Chemin faisant series, focusing on movement, traversed spaces, and familiar objects turned witnesses. This pair of black sneakers evokes presence and absence, the subtle poetry of a path walked. The tight framing and detailed rendering of the pavement highlight a raw intimacy, where the ordinary becomes lyrical.

CHEMIN FAISANT, MES GROLLES 5 (On the Way, My Shoes 5)

The fifth piece in the “Chemin faisant, les grolles” series, this painting pays tribute to everyday footwear—objects filled with personal history, symbols of journeys taken. These Bocage sandals, rendered with both precision and tenderness, rest on a tautly woven seat highlighted by sunlight. The polka-dot fabric and the linear structure of the chair evoke the paths crossed and the traces we leave behind.

CHEMIN FAISANT, SES GROLLES 5 (Along the Way, Her Shoes 5)

With THE GREAT CROSSING 1, I sought to capture the quiet poetry of a shared walk: 
moving forward together, yet separately, 
where closeness forms silently through shared emotion. 
The wet sand reflects gentle tones, and the figures slowly inhabit this fleeting space. 
With vibrant colors and unfinished sketches, 
I suggest the fragile beauty of these transient companions, 
united for a moment by the simple grace of the journey.

LA GRANDE TRAVERSÉE 1 (The Great Crossing 1)

With THE GREAT CROSSING 2, I wanted to capture the strange alchemy 
where the collective journey does not erase individual quests. 
In this open space between sky and sand, 
each person pursues a personal crossing, 
carried by memories, desires, or silent calls. 
Through light play and layered composition, 
I invite the viewer to drift between the simple act of walking 
and the intricate landscapes of inner journeys.

LA GRANDE TRAVERSÉE 2 (The Great Crossing 2)

With NEW LAND, I sought to depict the delicate moment of trying to find one's footing in a foreign world. 
The young woman, with her uncertain, multiplied stance, speaks of tentative exploration, 
of a blend of apprehension and hope. 
The massive Newfoundland dog serves as both guide and reassuring companion. 
The blank architecture suggests the need for silence, for invisible spaces where transformation can quietly occur. 
It is a painting about the quiet courage of beginning anew.

TERRE NOUVELLE (New Land)

With FINDING BEARINGS, I wanted to capture the discreet magic of encountering a new place: 
when each family member lays claim to it in their own rhythm, 
guided by personal desires and curiosities. 
The scene, blending realism and sketch-like touches, expresses the inner buzz, 
the overlapping excitement and expectations. 
It is a painting about discovery — the elusive instant when one starts belonging somewhere.

REPÉRAGES (Finding Bearings)

DESTINATION MONT ST MICHEL - 2022 - acrylic, charcoal, black stone and red chalk on canvas 80 x 80 - painted edges - anti-UV varnish - ready to be hung 
 
Shipment accompanied by the certificate of authenticity, the certificate of international deposit and the certificate of quotation. 
 
She had let herself be carried away in this stroll to this mythical place, but her mind had remained partly in the hotel's deckchair and despite the pleasure she had in contemplating the landscape, this long walk seemed interminable to her. I knew that smile, which revealed a mixture of contradictory feelings in her, and I already knew that soon I would paint her like that in a painting that would be entitled Destination Mont St Michel. 
 
Alain Rouschmeyer is a certified professional artist and i-CAC listed

DESTINATION MONT ST MICHEL (Destination Mont St Michel)

LA PETITE SALLE DE BAINS - Oil and charcoal on linen canvas 80 x 80 - 2022 - Canvas ready to be hung 
 
Certificate of authenticity - Certificate of international deposit - Certificate of quotation of the work 
 
It was a place where the floor space was small, of identical length and width, but with an unusual height. A place that vaguely reminded them of a champagne bottle box. The pebbles on the floor defined the bathtub's footprint, which was not large enough for the two of them to lie in completely. However, each time they were together in the small bathroom, their complicity grew.

LA PETITE SALLE DE BAINS (The Little Bathroom)

With "PIERRE & JOSEPHA," I continue my exploration of suspended moments — 
those fleeting instances where human connection erases the world around, leaving only the essential. 
The tension between the dense vegetation and the minimalist esplanade offers a quiet stage, 
inviting the viewer to imagine the story beyond the captured scene.

PIERRE & JOSEPHA (Pierre & Josepha)

In "AGATHE & JULIEN," I aimed to capture that fleeting moment when tenderness slips into simple, everyday gestures, 
where glances and smiles say everything. 
The minimalist setting — a green hedge and shimmering reflections — allows the viewer to focus entirely on the emotional nuance between the two characters.

AGATHE & JULIEN (Agathe & Julien)

In "PACIFIQUE," I sought to capture the calm strength of an ordinary yet striking figure. 
Behind the colorful outfit and slightly offbeat appearance lies profound humanity — 
the kind that doesn't need embellishment to fully exist in the moment. 
The thick hedge, smooth pavement, and contrasting colors emphasize this balance between the world's extravagance and inner grounding.

PACIFIQUE (Pacific)

With A GLASS OF RED, I explore the inner hesitation that precedes connection. 
The man is caught in the quiet moment before opening up, 
when thoughts swirl and self-doubt lingers. 
The background text reveals his internal dialogue — 
a wish to share, but also a fear of being misread. 
This painting is about what comes before: the meeting, the confession, the first word. 
It reflects the fragile, thoughtful part of being human.

UN BALLON DE ROUGE (A Glass of Red)

In TWO GLASSES OF WHITE, I explore the quiet tension of a scheduled meeting. 
The couple is not distant nor entwined, 
but poised in that in-between — 
a moment of mutual presence without full connection. 
Soft light, steady bodies, glances that diverge. 
The glasses are tokens, shields, perhaps offerings. 
This painting speaks of emotional stillness, 
of that fragile moment before true contact is made.

DEUX VERRES DE BLANC (Two Glasses of White)

With THE TIME OF THE DIVERS, I aimed to capture the gentle intensity of a feminine community bonded by a shared momentum. 
The dive becomes a symbol of boldness and mutual trust. 
The palette is light, vivid as a summer memory, 
while the structure of the scene — diving boards, striped cabins — emphasizes the joyful discipline of the moment. 
Every posture, every pause, every movement suspended tells of a silent, vibrant belonging.

LE TEMPS DES PLONGEUSES (The Time of the Divers)

With FIRST STROKES, I wanted to capture that moment 
when the body yields to water, 
when feeling overtakes setting. 
The composition embraces a direct frontality: 
the swimmer in the foreground, with the backdrop of leisure — 
a stone wall, an empty lounge chair, a pink flamingo, a zinc bucket... 
It's a holiday scene, but also a portrait of aquatic craving — 
of reconnecting through the senses. 
The semi-realistic rendering, with its loose edges, 
highlights the immediacy of the gesture.

PREMIÈRES BRASSES (First Strokes)

With LITTLE FLOWERS, I continue exploring the feminine body in its simple, everyday, poetic truth. 
The pose is frontal, but not provocative. 
What plays out here is the relationship to the gaze — presence, trust, a touch of mischief. 
The tiny flowers on the fabric, the folds of the sheets, the crossed legs — all speak of intimacy, comfort, and self-possession. 
It is a painting of freedom and complicity, where desire is gentle and the body becomes landscape.

PETITES FLEURS (Little Flowers)

THE NAP is an exploration of rest, of the body in pause, wrapped in vivid light and warm fabric. 
I wanted to capture that subtle in-between: half-awake, half-gone; present, yet drifting. 
The young woman, unclothed in spirit, dressed in sun, floats gently on a bed of yellow. 
The glasses in her hand hint she was reading, thinking perhaps, before slipping away. 
A simple, quiet scene — where anyone might find echoes of their own soft fatigue.

LA SIESTE (The Nap)

With WATER DREAMS, I sought to capture that fleeting moment when imagination overtakes reality. 
The artist’s studio, a space of creation, becomes a stage of projection, 
where thirst for water, for freedom, and for escape crystallizes. 
The swimmer, still rooted in her studio world, embodies the gentle tension between presence and longing. 
The penguin and surrounding objects extend the narrative, blending whimsy, deep yearning, and poetic evocation.

RÊVES D'EAU (Water Dreams)

With AMÉLIE'S ADÉLIE, I sought to explore the intimate quest for escape, 
that deep need for elsewhere sparked by the immensity of the world. 
The stark contrast between the polar rigor, industrial containers, and the tenderness of an unexpected encounter, 
invites reflection on the aspiration for a more personal, freer space. 
The Adélie penguin, both familiar and whimsical, becomes a silent guide, 
a playful nod to the dreamy lightness we carry when facing the unknown.

L'ADELIE D'AMELIE (Amélie's Adélie)

With THE ICE CREAM SHOP, I pay tribute to a familiar local scene: the iconic summer line in front of Glacier des Alpes in Annecy. 
I wanted to capture this ordinary yet shared moment — where strangers stand together, united by desire and sunshine. 
This is a painting of anticipation, of crowded joy, of shared humanity. 
Every figure carries a posture, a gesture, a place in the whole. 
It is at once a snapshot and a seasonal memory.

LE GLACIER (The Ice Cream Shop)

With ON THE QUAY, I wanted to paint a moment of everyday life — ordinary, yet full of weight. 
A dockside scene like many others, yet here, frozen in posture and light. 
The shadow on the ground becomes as important as the figures themselves. 
Nothing seems to happen — and yet everything is there: 
bodies holding still, eyes looking away, the quiet presence of a dog. 
It’s a painting about suspension, anticipation — about unnamed expectation.

SUR LE QUAI (On the Quay)

With WHAT MATTERS IS, I wanted to capture the fragile intersection between the outer world and inner searching. 
The man, absorbed in his phone, is both anchored and adrift — present at the lakeside, absent from the moment. 
The wrapped rose, the metal bucket, the passing seagull all whisper of waiting, of hope perhaps, or simple distraction. 
The tight framing and interplay between realism and suggestion invite the viewer to read between the lines of an everyday scene, uncovering hidden poetry. 
This painting has been awarded multiple prizes for its subtle narrative tension and emotional resonance.

L'IMPORTANT C'EST (What Matters Is)

With CHILDHOOD MEMORY, I wanted to capture the fleeting moment when a simple gesture — 
bringing a flower to one's face — unlocks silent floods of memory. 
The woman walks calmly, carrying the lightness of an intimate recollection. 
The composition, pared down and luminous, leaves space for a discreet emotion: 
a moment suspended between yesterday and today. 
Through this everyday scene, I explore the tender strength of our invisible ties.

SOUVENIR D'ENFANCE (Childhood Memory)

Alain Rouschmeyer artiste

"LA FILLE AU LEVER DU JOUR" captures that suspended moment between the end of sleep and the beginning of the world. 
The overhead view, almost secretive, celebrates the raw simplicity of a daily ritual: washing, preparing to be reborn. 
The confined space of the bathtub becomes a precious setting for the freedom of movement, highlighting the beauty of the ordinary and the power of being alive.

LA FILLE AU LEVER DU JOUR (The Girl at Dawn)

"Summer Lovers" captures the tenderness of shared summer moments. 
The aerial composition isolates the couple from the world, celebrating their private cocoon. 
The play of cast shadows, marine textures, and radiant light enhances the feeling of fullness, blending vivid reality with poetic reverie.

LES AMOUREUX DE L'ÉTÉ (Summer Lovers)

In "GRAIN DE BEAUTÉ," I sought to explore the intimacy of a suspended moment, 
a captured instant between movement and stillness. 
Seen from above, the composition highlights the subtle geometry of both place and body, 
while the textures of stone and vegetation whisper the silent dialogue between nature and humanity.

GRAIN DE BEAUTÉ (Beauty Mark)

In "DOS NU," I sought to capture the silent intensity of an intimate moment: 
the instant when a poised body engages in dialogue with untamed nature. 
The graphic treatment highlights the vertical strength of the stones and the swirling motion of the water, 
while the woman’s posture—both powerful and fragile— 
invites the viewer to feel the vibration held just before release.

DOS NU (Bare Back)

This painting is part of a series of contemplative works in which the female body becomes presence in the world. 
It is less about representing and more about allowing what is felt to appear — a posture, a threshold, a suspended moment between intimacy and landscape. 
The lake, calm and reflective, becomes the interior space of the figure.

LA FILLE AU BORD DU LAC (The Girl by the Lake)

With THE PHOTOGRAPHER, I wanted to honor the act of seeing — patient, curious, deeply human. 
She is fully present, turned not toward herself, but toward the world she wants to capture. 
I painted her humble, focused posture — the artist engaged with the real. 
Sand, shell, camera: each becomes a tool of presence. 
It is a painting about observing the world through image, about how a simple gesture can embody a whole passion.

LA PHOTOGRAPHE (The Photographer)

With PISTACHIO AND GRENADINE, I wanted to capture that fleeting moment where life grants itself a tender pause. 
The overhead composition invites the viewer into the intimacy of a daily ritual, transformed by warm light and vibrant colors. 
The bright red dress, the everyday objects — pistachios, grenadine — 
become symbols of discreet hedonism, a quiet celebration of the present moment. 
A pictorial homage to life's gentle pleasures.

PISTACHE ET GRENADINE (Pistachio and Grenadine)

With "Heritage Geometry", I sought to explore the echo of places on human presence. 
The aerial perspective, the graphic tension of the checkerboard, and the architectural elements amplify the feeling of a suspended space where every move leaves its imprint, and every decision echoes through time. 
The playful confrontation unfolds within a broader dialogue with the materiality of memory.

GEOMETRIE PATRIMONIALE (Heritage Geometry)

This piece captures the tender hush of rain, where time slows and colors melt into one another. 
The fisherman, solitary yet serene, becomes a symbol of patience and introspection. 
The composition plays with subtle greens and concentric ripples, inviting the viewer to enter a space of quietude. 
It's a celebration of nature, stillness, and timeless gestures in a delicate watery world.

JOUR DE PLUIE (Rainy Day)

"LA CASCADE" captures a moment of vivid energy and a subtle connection between humans and the flowing elements of nature. 
The discreet presence of the dragonfly accompanies this aquatic journey, acting as a fragile and free companion. 
This painting celebrates the tender courage of surrendering to the flow, the moment, and the simplicity of being.

LA CASCADE (The Waterfall)

With THE BIKER WOMAN, I wanted to portray the gentle tension between speed and stillness, the freedom of the road and the quiet of the pause. 
She’s stopped, perhaps alone, perhaps for a long while. 
She touches the green, opens her leather just slightly: the sensuality is not posed — it is lived. 
Her posture, her gear, the light on her skin tell of the journey’s liberty and the tenderness of the now. 
It’s a painting about body, place, and the breath that connects them.

LA MOTARDE (The Biker Woman)

With THE RUNAWAY APPLE, I wanted to capture a slice of daily life where the trivial becomes poetic. 
The figure, stooped in the effort of catching a runaway apple, speaks beyond the action itself: 
it tells of our human moments, of the unexpected, 
of the hidden beauty found in our small clumsy acts. 
The square format enhances the body’s presence, 
anchoring it in a quiet, almost endearing choreography.

LA POMME FUGUEUSE (The Runaway Apple)

With IN HER BUBBLE, I wanted to explore the relationship between the body and imposed space. 
Her posture, fully contained within the square, creates a soft tension, 
where confinement becomes a form of refuge. 
The accessories — polka-dot dress, striped socks, red shoes — are not mere adornments: 
they reinforce the idea of an asserted identity, 
playful, deliberate, and charmingly offbeat. 
It is a painting about the need for intimacy, 
and the grace of instinctive movement.

DANS SA BULLE (In Her Bubble)

"LA BERGERONNETTE" is an invitation to quietude and introspection. 
The bench acts as a bridge between humans and the bird, between silent contemplation and the subtle movement of nature. 
In this suspended moment, emotion resides as much in the waiting as in the stillness of the world.

LA BERGERONNETTE (The Wagtail)

With IN BETWEEN SEASONS, I sought to capture the oddness of transitional moments. 
When the air can’t decide between cold and warmth, 
and people wear a puzzle of garments borrowed from different climates. 
The man strides confidently, yet his look puzzles: 
a winter hat, summer sandals, mirrored lenses. 
His shadow stretches along the zebra stripes, 
accentuating the poetic tension of opposites. 
This painting is a tribute to those moments that escape categorization — 
when we walk on the threshold of change.

INTERSAISON (In Between Seasons)

In “Summer in Nyons”, the artist captures a moment of passage. 
The feminine figure, both outlined and dissolved, walks through a haze of golden light. 
 
The background seems to vibrate with heat, as if shaped by memory rather than reality. 
The gesture is fluid, simple, filled with presence — like a scene we remember, but can't quite place. 
 
A sun-drenched piece about movement, memory, and the traces of summer.

UN ÉTÉ À NYONS (Summer in Nyons)

In Blue Morning, Alain Rouschmeyer continues his exploration of the human figure in space. 
Here, the figure is veiled in softness and nuances — a play of tones and textures that invites a slower gaze. 
 
This work is part of the artist’s ongoing quest to paint what is felt, not just seen — to capture the fleeting, the uncertain, the intimate.

MATIN BLEU (Blue morning)

In An Afternoon in Duingt, Alain Rouschmeyer continues his exploration of the figure in architectural and natural space. 
 
Through subtle contrasts of light and shade, and a composition that leaves room for the viewer’s gaze to wander, the painting invites slowness and contemplation. 
 
The scene is neither anecdotal nor descriptive — it is an evocation, a felt moment, rendered with restraint and depth.

UN APRÈS-MIDI A DUINGT (An Afternoon in Duingt)

With POSTURE, I sought to capture that rare moment when the body, after its surge, stabilizes, 
suspended between effort and grace. 
Contemporary dance here becomes a language of contained intensity, 
where the final posture carries the full story of the movement lived. 
The grazing light, warm tones, and the discreet presence of roses, 
evoke both the beauty of a completed gesture and the fragility of life.

POSTURE (Posture)

With ALLEGORY, I sought to capture the essence of contemporary dance, 
where the body becomes a bearer of profound, wordless emotions. 
The chosen posture evokes both lightness and resolve, 
a delicate balance between grounding and soaring. 
The warm tones of the dress contrast with the darkness of the stage, 
highlighting the fleeting, luminous presence of living art.

ALLEGORIE (Allegory)

ANCHORAGE - 2022 - acrylic on linen canvas 50 x 50 - painted edges - anti-UV varnish - ready to be hung 
 
Shipment with certificate of authenticity, certificate of international deposit and certificate of quotation 
 
The painting represents a woman who practices contemporary dance and she is the main subject of the canvas. Her posture and gestures define the basis of this practice of body expression. Her face, partially in shadow, conveys an emotional intensity related to her movement. The scenographic atmosphere and the light perfectly draw the contours of her silhouette. Acrylic and charcoal combined with a spontaneity of drawing collaborate to bring a sensation of accomplished movement. 
 
Alain Rouschmeyer is a certified professional artist and i-CAC listed

ANCRAGE (Grounded)

"LOULOUS" captures a simple and vivid moment: the ordinary complicity after a marine getaway. 
The aerial framing, the spontaneous gestures, and the delicate details tell a story of sweetness, of grounding, where the ordinary becomes precious.

LOULOUS (Little Sweethearts)

"ZONE BLEUE" explores the fleeting imprint left by movement and light. 
The bold framing, the apparent simplicity of the scene, and the silent vibration of shadows form a visual composition where the ordinary turns into poetry. 
The painting captures the free spirit of summer, between departures and open horizons.

ZONE BLEUE (Blue Zone)

"LA FILLE NUE DANS SON LIT" captures the luminous vulnerability of the moment when the body, still surrendered to sleep, converses with the folds and patterns of the bedding. 
Seen from above, the perspective offers a tender and discreet glimpse into this in-between state, where reality and dreams remain entangled. 
The deep blues of the sheets contrast with the warmth of the skin, enhancing the poetic resonance of this intimate and fleeting scene.

LA FILLE NUE DANS SON LIT (The Naked Girl in Her Bed)

"LA FILLE DANS LES DRAPS BLEUS" explores the dialogue between the body and the sleeping space, where soft light sculpts a gentle geography of folds, skin, and fabric. 
The omnipresent blue evokes the depth of dreams, a motionless and infinite inner journey. 
It is an ode to the secret stillness of abandoned moments.

LA FILLE DANS LES DRAPS BLEUS (The Girl in the Blue Sheets)

THE MARKED PATH freezes a vibrant instant from a multi-sport event — likely a swimrun race. 
I was drawn to the intensity of this female duo, 
their matching gear, pink paddles bouncing, 
and the way the fluorescent markings blend into the scene. 
Everything is movement, purpose, direction. 
The foreground is charged with action, while the background 
offers calm, contrast, and a sense of orientation. 
It’s a tribute to athletic commitment, shared drive, and the silent bond between teammates.

LE PARCOURS FLÉCHÉ (The Marked Path)

With THE PERFORATED PAVEMENT, I wanted to highlight these everyday laborers we so often overlook. 
Two men: one experienced, deeply engaged in the act, 
the other younger, receptive, open to learning. 
A moment of urban maintenance elevated by composition — 
shadows stretch, yellow buckets anchor the scene, 
and the texture of the asphalt becomes almost abstract. 
This painting speaks of transmission, dignity in work, and the quiet poetry of shared tasks.

LA CHAUSSÉE PERFORÉE (The Perforated Pavement)

"LA FILLE EN BLEU" was born from the desire to capture a suspended moment within the softness of the present. 
The composition plays with offset planes, blending real landscape with fragments of imagination. 
The harmony between the vividness of the blue dress, the depth of greenery, and the brightness of the water gives the painting an almost dreamlike quality, where walking becomes an inner journey.

LA FILLE EN BLEU (The Girl in Blue)

“I wanted this painting to feel like a silent conversation between object and environment. The white chair, simple and unadorned, becomes a focal point—almost a stand-in for the viewer—beckoning you to sit, to witness, to become part of the scene.”

LE FAUTEUIL BLANC, AU JARDIN (White Chair in the Garden)

This work is part of the Le Fauteuil Blanc series, in which Alain Rouschmeyer examines the place of the female body within a natural environment. 
The armchair—a recurring motif—becomes a platform of presence within a shifting setting. 
Between shadow and light, the human figure engages in a silent dialogue with the garden and with the viewer’s gaze.

LE FAUTEUIL BLANC, JOUR D'ÉTÉ (White Chair, Summer Day)

This third opus of the Le Fauteuil Blanc series celebrates the direct relationship between the body and natural light. The bold pose, anchored in the white armchair that has become the series’ emblem, questions notions of freedom, exposure, and sensory pleasure. Here, the subtle handling of oil paint explores the textures of skin and the modulations of light within a space that is at once intimate and open.

LE FAUTEUIL BLANC, AU SOLEIL (White Chair, In the Sun)

The fourth opus in the Le Fauteuil Blanc series, this work continues the exploration of the relationship between body and natural setting—this time introducing the dimensions of movement and clothing. The white armchair, a recurring emblem of the series, here stands as a silent witness to a transitional scene, poised between nudity and dress, surrender and restraint. The richness of the textures—skin, fabric, foliage—invites the eye to travel across the various planes of the canvas.

APRÈS LA BAIGNADE, LE FAUTEUIL BLANC (After the Swim, the Wh

With INTIMITÉ, I sought to capture the precious simplicity of first moments in a new place. 
The painting explores how we make a space our own, through tender, everyday gestures. 
The focus on textures — the softness of the skin, the thickness of the fabric, the graphic firmness of the pitcher — creates a subtle balance between sketch spontaneity and material precision. 
It is a scene of quiet humanity, where intimacy meets the universal.

INTIMITÉ (Intimacy)

With INTERRUPTED READING, I aimed to capture the luminous fragility of a surprised moment. 
The relaxed posture, the open expression, the folds of fabric — they all tell the story as much as her gaze does. 
The painting lingers on the vibration of the instant: between distraction and surrender, between reading and the body. 
The floral background enhances the delicate tension between her inner world and the soft touch of the outer one. 
It is a vivid, intimate, and sincere scene.

LECTURE INTERROMPUE (Interrupted Reading)

Naked Beneath the Willow unfolds in three vertical panels, 
each capturing a phase of a private ritual: 
the return from the lake, the pause, the gentle removal of clothing. 
What interests me here is not nudity, but passage — 
from immersion to awakening, 
from element to emotion, 
from exposure to introspection. 
The willow tree acts as both screen and witness, 
offering a soft veil of green 
that wraps the scene in natural modesty.

NUE SOUS LE SAULE (Naked Beneath the Willow)

“I paint the figurative moment
when the human posture
whispers its attachment”