Born in New York in 1954, Michel Koven grew up in London where he studied architecture and worked in the world of advertising and design. Since the early 90s he has been living in Valencia. His passion for photography began at an early age and the camera has always been a faithful travel companion. He soon began to combine his photographic work with painting. After a period in which watercolour became his means of expression, his painting evolved towads a mixed technique combining his two passions: photography and painting.
Born in New York in 1954, Michel Koven grew up in London where he studied architecture and worked in the world of advertising and design. Since the early 90s he has been living in Valencia. His passion for photography began at an early age and the camera has always been a faithful travel companion. He soon began to combine his photographic work with painting. After a period in which watercolour became his means of expression, his painting evolved towads a mixed technique combining his two passions: photography and painting.
My interest in flowers was sparked ten years ago by a quote from writer Jean Genet. He had been incarcerated at the Mettray Colony, a progressive prison in early c20th France. One of its finest inventions, Genet later said, was to have known not to put a wall around it: “it’s much harder to escape when you have to cross a bed of flowers.” Whether or not this is actually correct, I was struck by the idea of a flower possessing some kind of force.
My interest in flowers was sparked ten years ago by a quote from writer Jean Genet. He had been incarcerated at the Mettray Colony, a progressive prison in early c20th France. One of its finest inventions, Genet later said, was to have known not to put a wall around it: “it’s much harder to escape when you have to cross a bed of flowers.” Whether or not this is actually correct, I was struck by the idea of a flower possessing some kind of force.