The paintings of Ouanes Amor are above all Colorist. They are also instinctive paintings, yet, coming from an artist with refined instinct his process is that of a priori rigid construction but instead of a maturation of canvas. Therefore, while he paints the colors speak to and seem to play off one another.

His color choice does not come randomly from divine inspirations or in the improvisation of the lyrical gestures of his brushstrokes, but instead from a mixture of practiced knowledge and delight. Similarly, the colors of Paul Klee at the time of his voyage in Tunisia, those of Bonnard or Valloton, those of the carpets, the potteries and the braided plaits of North Africa, those of Cézanne also, come in turn to nourish the rich colors of the pallet. His chosen formats are not disproportionate: they keep a reasonable dimension, with the size of the painter's body. Therefore the activity constantly remains natural. There is a closer attention to the pleasure of creating rather than the will to exploit and affirm the subject or viewer. This dries the small canvas like a watercolor to squares of 2 meters on 2, close to the elements of contemporary abstract tradition.

Amor adheres to logic. And he is inspired by the motifs and colors that evolve from a regular activity. The forms he chooses are reproduced by repeated brushstrokes and layers of paint. Over time his works have not ceased being simplified to further his closeness to the actual act of painting he thus passed from producing decorative vegetative motifs, that soon ruptured into symbolic geometrical forms, then to crisscrossing and braiding which correspond to the transformation of the pictorial into the symbolic. Since the end of the eighties, a new evolution occurred, it is the color itself which makes the form, done with pallet knife or diluted materials which gives the paintings a translucence similar that which Hans Hofmann spoke of in the forties.

During this slow evolution, the creation of art goes from the eighties to a progressive withdrawal to paint on paint itself Painting does not seek to symbolize the exterior of one self; instead it is inspired from its own source and then autonomies. It would have been necessary to specify earlier - but one would be surprised of the contrary - the color that Amor uses is not thick, he applies it in veils rather than in paste form. Amor deliberately adheres to the trend of painting using light effects. This goes hand in hand with his choice of non-prepared surfaces that lets the autonomy unravel itself.

One cannot avoid the question of historical context. Ouanes Amor belongs to a generation of French painters, in the particular of movement support-surfaces, which defended with energy and engaged in a very colorful abstracted painting, evidently autonomous, resulting from the mechanical and automatic processes, with the intent of marking post-cubist space.

In many regards, Amor is authentically close to this form of painting: he is a part of this generation.
What draw him aside however, is a refusal to manifest himself in the political and aesthetic aspects of creation, and also a refusal to declare and declaim subject matter, on the other hand he has a passion for painting what is intimate to him. His direction towards the decorative is more indebted to the works of Bonnard than those of Matisse, it is less spectacular, and is thus charged with inferiority and meditation. Amor's refusal of the spectacular can be seen as a relative discretion on his part.

When one looks past the immediate trends of today's art world, this so-called discretion of Amor's becomes a measure for the sort of work he is creating, which is a work which knows where it is going and carries on its path without letting itself become distracted.

Looking thirty years into the future, one can already foresee the path that will be taken.