Throughout the entire course of his work, Besner’s main artistic concern has been focused on transmitting the vital and physical sources of energy that surround him. The artist is entirely open to the vibrations of contemporary society which he seeks to remodel in new forms of plasticity, hovering somewhere between the figurative and the abstract. His aim is not to create an ideal or to reproduce nature, but rather to give form to the energy emanating from the metaphysics of human activity. The subject of the picture is the record or the memory of a living civilization expressed in a sustainable medium, the work of art. In addition, the queries and thoughts that nourish Besner’s art are closely linked to life and death. The fantastic creations to which he gives birth on the canvas are a synonym of human fragility, of the brevity of life, by which he is both awed and troubled. Like a paleo-anthropologist, Besner is always on the lookout for all traces of life. The remnants left by life after death are a source of fascination for him. His paintings depict and honour the memory of such traces of life.
To instil greater emotional depth in his works, as the expression of his ambient world, Besner lets his lines and colours overlap, in a dynamic that is both simple and complex. The division of the canvas into different planes provides a structure for his composition, allowing the artist to introduce varying mixtures of colours and textures. The work is similar to a system of well-orchestrated relationships, as the motifs spill over from one plane to the next. Due to these interactions in which the figures are immersed, the artist succeeds in creating an image of the ways contemporary society moves. Besner draws on the energy from the heart of the city, with its noise and fast-paced activity, which he then modulates in his painting. The characters depicted are necessarily imbued with the same sense of dizzying movement associated with urban press. They live in the echoes and the ambience of the city, which the artist depicts using colours, lines and motifs. Whether his subject is human, animal or architectural, the resulting depiction is always the effect of a plasticity that emerges from the dynamic relation between the figure and the space. The work is intellectually structured by the critical view of the artist who is constantly in search of new colours and forms to give palpable form to urban forces. The artist approaches his work as a pictorial architect: his figures are monumental, three dimensional and reflective of the lines that exist between proportion and balance.
In Besner’s universe, the characters represented are usually the actual subject. Let us ignore and not take into account figures without character that are slapped onto a canvas. Every subject, no matter how diffuse, results from the treatment of colours, at some point between the form and the substance. The figures distinctly stand out within the depicted space. The figure is a concrete form, which provides the means of entering into dialogue with the spectator and to announce the emotional depth of the world created by Besner. When the subject is a person, everything is in his gaze, his mouth, his high cheekbones, broad forehead and sometimes merely in the slight angle at which the head is held. The overall facial expression is more than just a reflection of personality; it is a reflection of our contemporary world, which belongs to all of us. Postures, hairstyles, body language ― all mirror the movement initiated by the face and express the full eloquence of the work. Besner’s figures are astounding in their colour and their texture because they are the reflections of the energy that the artist draws from an urban world where he can never be content with mere naturalism. The emotional structure of Besner’s work expresses a renewed, richer and deeper view of life, based on line and colour. The resulting depiction is the image of a world in itself, which largely transcends the two dimensional limits of the canvas.