« Jano was always an avid reader, and her work table was always strewn with books, often annotated – she would copy her favorite quotes, carefully calligraphing them. Writings on art, philosophy, poetry, spirituality – she nourished herself with texts as diverse as they were precious: the writings of her Jesuit friends (Jean-Marie Tézé, Paul Beauchamp, Denis Vasse…), the works of cherished authors (some of whom were also friends) whose every new publication she faithfully anticipated: Jean-Louis Chrétien, François Cassingena-Trévedy, François Cheng, Alain Cugno, Sylvain Tesson, Christian Bobin…
Jano also spoke of her own painting as a form of « writing. » In an almost finished painting, she would look for potential « writing errors » to correct them immediately! It was only after several decades of practice, she said, that she had developed a discerning eye, allowing her to detect, in a painting, a « fault in rhythm »: then, she would tirelessly rework her piece… »
Jano also spoke of her own painting as a form of « writing. » In an almost finished painting, she would look for potential « writing errors » to correct them immediately! It was only after several decades of practice, she said, that she had developed a discerning eye, allowing her to detect, in a painting, a « fault in rhythm »: then, she would tirelessly rework her piece… »
