LH: I would like to know how it was, how is it to study at the Ecole Nationale Supérieure des Beaux Arts in Paris (ENSBA)?

SN: At the ENSBA of Paris the admission is based on an entrance exam. During the studies you have two years to familiarize yourself with the school. The students have to successfully complete teaching units. From what I remember there were seven or eight teaching units. Half was based on theory while the other half was based on practice. The ones based on practice included: drawing, mosaic, stained glass, fresco.

LH: What about sculpture?

SN: Sculpture is a separate department in the organisation of the school. You have several departments: painting, sculpture, now there is also photography and I think there is even computer graphics. Personally, I opted for the painting department. 
When it comes to paintings, the students are in a workshop and there is a workshop leader, you can even have two. Generally, they are trendy painters that have been appointed by ministers. This is one of the particularities of the ENSBA. The professors at the Beaux-Arts come from the world of art. To come back to your question, the students spend five years in the workshop of their choice. The only constraint is that you have to show your paintings and talk about them with the workshop leader and the other students. In the workshop where we show our paintings we mostly reflect on the theoric aspect of our studies with everyone. The technical aspect is taught during classes and specific workshops.

LH: Yes.

SN: Indeed, the technique of painting is not really taught in workshops anymore. It is more so creation in itself that we learn.

LH: Okay.

SN: You see… In other words, we spend a lot of time talking. Anyway, it is a school in which we are mostly free. This suited me because I was not really a scholar. I have to say that painting calmed me down. I remember that the only constraint was really to present your work and pass the theoric teaching units. It was nice to have painter friends, some of them even kept painting skillfully such as François Nugues. At first, painters did not represent the majority at the ENSBA, and even less today, because painting is hard, it requires a lot of time and work. Today, with all of the mediums that are available such as photography, etc. students tend to go towards these fields… I do not think they take the easy way out, but they are moving toward these new technologies. Regarding teaching, the ENSBA remains a conservatory of artistic traditions. This can be explained by the fact that it is an academic school of international standing. This is why big cities still keep a Beaux Arts school… Personally it taught me traditional frescoes as it was done in Antiquity, that is to say with coatings (hot and cold), I also learned about Roman mosaics…

LH: So a lot of things.

SN: It was interesting. I keep in touch with two or three painter friends who keep painting. They are all in Paris and it is nice, it allows a bit of competition.

LH: Is this what is important for you?

SN: Yes, this little healthy competition is important. Painters are often isolated in their studios so keeping in touch with a few painter friends is really essential… We do not work in groups as musicians or dancers do.

LH: There is more of a social aspect to music.

SN: Maybe. Let’s say that my work is one that is done alone and that, for instance, comedians generally create companies.

LH: Do you draw a lot?

SN: Yes, I do. I mean, I have been practicing drawing from observation again precisely because I’m planning on having an exhibition, as I have told you.

LH: Do you use new technologies?

SN: No, no, no. I draw with a pencil and my notebook. I mean, I have tried out drawing on a computer before, but let’s say I’m quite conventional. And I love drawing, I think you can express yourself simply with a pencil and a notebook, you know?

LH: Yes, I agree. Thank you very much for answering my questions.

SN: It was my pleasure.