Through a myriad of artistic mediums ranging from film to performance, sculpture to painting, David Hominal displays a corpus of work based on both the limits and the possibilities of transforming contemporary art. He perceives his work as a whole, despite the diversity of forms that it encompasses, in which painting would be a common denominator or a conceptual link. He appears to ask himself how to paint, or indeed, how no longer to paint today. In this sense, he does not hesitate to question the history of art, stretching from the tradition of still lifes to the more recent abstraction in painting and the ready-made, calling into play other creative domains such as dance and music and the popular culture. His pieces often assume a tragic aspect and reveal themselves as the traces or remains of a movement comprised of both emptiness and intensity. It is in the context of a reflexive attitude on the idle gesture of the artist and his ability or indeed his inability to create, that his work evolves.