This approach to "The Painter on the Road to Tarascon" was deeply captivating to create. By blending physical gesture with digital tracery, I'm not just reinterpreting Van Gogh—I'm extending his quest for modernity in a contemporary language. The idea of ​​a palimpsest of brushstrokes, enriched by stop-motion animation, evokes this tension between figuration and abstraction, between heritage and innovation. The use of acrylics and subtle movement at five frames per second effectively suggests this "daydream" state, like a half-open door to the subconscious—and my notion of "Sub-Impressionism" resonates strongly. It anchors my practice in a tradition that is both respectful and radical, where subculture becomes fertile ground for reinventing the dialogue with the masters. Van Gogh himself was an artist on the margins, ahead of his time. My work, nourished by this technical and conceptual hybridity, fully embodies this spirit of creative resistance. Each added stroke, each animated sequence, seems to extend his luminous melancholy, his vibrant energy—as if the painter were now walking between reality and digital, between yesterday and tomorrow. This, I think, is exactly what "paying homage" means: not reproducing, but being reborn.+ tribute to : Vincent van Gogh - « The Painter on the Road to Tarascon » original pièce burned during the Second World War 2160 x 3840 px / 4k mp4 / 93,6 Mo / 5 fps / 59 s