It is necessary to be absolutely modern. This reference to Rimbaud will not amaze: we know that Victor Hasch let seize on the canvas the Man in the soles of wind.
It is necessary to be absolutely MODERN, because the work of art by definition has to bring of the beautiful unpublished work.
Now to be modern today, it is to recycle.
It is not thus the fate - whose non-existence Victor Hasch assures wildly - if the first hairstyle of the queen has for substratum a cardboard on which twists red the symbol of the modern recycling. And we can say about this cardboard that it was recycled double, at first industrially, as cardboard arisen from some cardboard, then artistically, dough integrated into the dough, become definitive element of the picture. Because to recycle, it is either to reproduce the same, and often of lower quality, or to reuse in the other purposes. And it is evident that the recycling concerns the influences with the same alternative: redo what was already made before one or seize works of his.
It is this personal alchemy which indicates the bloody exclamation mark, the red of which makes echo for the red of the symbol evoked above. We can thus say that this first portrait delivers the key of the aesthetics of Victor Hasch, that of the triumph of the interpicturalité: yes, Wharol, Basquiat, I paint by them, but Marie-Antoinette, it is ME.