His friendship with Ben Vautier bears witness to this longevity of meaning. “He is one of the few to understand that painting is not a navel-gazing search, but a vehicle for the memory of peoples, their resistance, their personality. So painting, but also body painting, radiographic printing, sensory exploration, monumental sculpture, and even publishing, words, lights, which move the horizon lines and the temporary representation of the world.
"It's a freedom you can't imagine," summarizes Kossi Homawoo, who found it, in part, in Michel Batlle's interest in Africa and its spiritual environment. In addition, both exploit what contemporary mediums offer in terms of possibilities. The first impressions on Plexiglas were thus born. Sumptuous, noisy, abusive, limitless faces, bodies in the making, because they are given liberty “with two Ls”.
“He imposes no discourse, no interpretation. It's still great, someone who can tell you: "Do what you want with it, it's up to you. Literally and figuratively, a work that comes back to you, with which you will get along. The spirit of the "artists" is summed up in this single sentence. A common artistic experience, between the producer and the viewer.
Roger Calmé (ZO mag’)