Faces, figures, places and things

Simplification of forms, abolition of perspective and chiaroscuro, use of bright and unnatural colours, incisive use of pure colour, often squeezed directly from the tube onto the canvas and a clear and sharp boundary line.

The important thing for Richard Colman is not, as in academic art, the meaning of the work, but the shape, the colour, the immediacy.

Based on suggestions and different stimulations, he researches a new way of expression based on the autonomy of the painting: the relationship with the visible reality is not natural, for him nature is understood as a repertoire of signs to draw from for his free transcription.

There is a prevailing interest in colour, used in a free and emotional way, as well as a construction in the wake of Van Gogh and Gauguin.