Michel Boulanger was born in Anthisnes (Belgium) in 1944. His work has several layers. For him, it is a question of establishing a physical presence of the work, which can be appreciated as a sculpture; the draughtsman doubles as a sculptor. Whether it is the Caisse et 1 son 1971-73 ( Michel Boulanger, Pavillon Belge, Biennale de Venise en 1978) ou de la Boîte de Zagora (Musée des Beaux Arts de Liège in 1985), Michel Boulanger is concerned with the resonance of the work and its echo in the surrounding space. The Boîte de Zagora, for example, directly linked to a trip to Greece, constantly refers to the dual physical and inner journey from which it emerged.

Michel Boulanger considers drawing as the trace of a perpetual questioning. This endless curiosity is reflected in the keen eye he casts on the model; From a nude woman lying down, he goes far beyond sensuality, he seeks the very essence of the body. The drawing acquires a harsh, uncompromising character. If the drawing can be executed quickly, it can take a long time for the artist to be awakened. A state of maximum receptivity is essential so that at a precise moment, without any form of premeditation, he can let his brush run over the sheet. He listens to the body of the paper, the brush and the ink, which coagulate lovingly, he says.

Sometimes Boulanger solicits connections between two or three drawings. He assembles works from different periods which, although initially autonomous, reveal themselves to each other. Boulanger piles up in a folder a few drawings which, in his opinion, become true after a more or less long time. He chooses some of them to try to compare them. He meditates at length on these attempts and, in a moment of extreme lucidity, he recognises what he has just assembled. This work is as much a part of his process as the making of the drawings.