The Artist
A contemporary painter, sculptor, and ceramic artist, my work explores material as a language in its own right.
I develop a visual research practice in which color, texture, and gesture interact to reveal a tension between raw strength and subtle balance.
From Image to Material
My journey began with photography — a true school of observation. It taught me to perceive the forms, rhythms, and colors of the world. But very quickly, the image felt insufficient — too fixed. The need to touch, to transform, to give the work physical depth became essential. Material then moved to the forefront, first through framing, and then through painting.
Color, Identity, and Territories
The discovery of India marked a decisive turning point. There, color is omnipresent — cultural, deeply tied to identity. This revelation fueled my exploration of chromatic worlds and the geography of color. My first abstract canvases incorporated materials connected to the territories evoked — textiles, wood, paper, reclaimed elements — grounding color in a tangible and cultural reality.
Living Material
Gradually, the flat surface was no longer enough. Material thickens, takes shape, becomes sculptural. Largely sourced from reclaimed elements, it is kneaded by hand, assembled, fixed within plasters or binders, until it becomes the very body of the work.
Color is never decorative; it is skin — revealing, meaningful. It is within this dialogue between material and color that my artistic language takes form.
Painting, Sculpture, Ceramics: One Language
Ceramics naturally became part of this continuity. Working with clay extends my physical relationship to material while introducing the unpredictability of fire. Glazing, textures, and firing accidents enrich the exploration, suspended between control and release.
Painting and ceramics are not separate practices; they are two facets of the same investigation.
An Ongoing Exploration
My universe moves between abstraction and echoes of reality. It draws from travel, cultures, memory, and questions of identity.
I do not seek to represent, but to evoke — to provoke a sensation, an emotion, a presence.
Each work is an invitation to see differently, to feel, and to enter into dialogue with material.
INTERVIEW
Probably in a past life! I am not one of those who are born artists. My calling came late, rather unexpectedly.
Boldness! Most of my works are experimental approaches to materials, initiated within the framework of the “ENERGY TRACKS” movement – an international group of artists whose experiments are about physical and chemical processes able to create either a chromatic or a plastic energy. I work a lot on polymerization of adhesives on delicate materials such as cardboard, paper and fabric whose structure I transform. In opposition to the search of an ephemeral claim, my works fit into the dynamics of time which would no longer have a hold over the so-called “fragile” material, making it fulfill the challenge of lasting. I have found my own techniques through work and experimentation. Every artist is an alchemist researcher…
In my art career, photography was a first stage, a discipline, a training that taught me a certain sensibility to the perception of measures, a vision of the shapes and colors of the world. In my painter’s work, I use the same rigor which, paradoxically, leads to the surpassing of oneself, the rising of the unconscious and the showing up of mystery.
My approach as a visual artist revolves around the concept of “cover”, in its allegorical dimension of a social finery distorting the original nature of things. My questioning focuses on its limits and contradictions, its capacity to hide, to transform or reveal the inner “material”.
I condition myself mentally. You have to feel the right moment, the one where the urge, the senses, are sharpened to the point you welcome a real emotion, coupled to the energy that fits it. It’s this same energy that takes shape. In everyday life, I constantly observe, I unconsciously photograph details that inspire me to work on a material, which makes it possible to open the dialogue.
The moment I feel that the finish is merging with my thoughts and my vital need to feel my emotions fully expressed. When experiencing this troubling feeling that I have managed to understand myself.
A questioning, a sensitive look on the world that we are part of. Experimentation is kind of a form of resistance. To overtake the limits, open new doors, to wonder about what is beyond the acquired, to refuse the comfort for a risk which is perhaps worth it. Art is, above all, a vector of communication towards others. I consider that the life of an artwork begins when it leaves the atelier, during an exhibition, when it offers itself to the eyes of others. It becomes a marvelous excuse in interacting with the others who express their own emotion and comment on yours, to the point of sometimes revealing the most obscure aspects of your personality, offering a hint of an answer that will lead you to other questions. A way to feel vibrant, to be alive.
I don’t have any reference model. I like the idea that you can create without any influence. I love the Senegalese sculptor Ousmane Sow. I love him for his path, his background, his way of stumbling into art by accident and with a lot of strength, his way of being a “distinctive” artist, with humility and talent. In my painting, I recognize myself in the technical approach of Alberto Burri, pioneer of informal art. Like him, I felt a physical relationship with the canva’s surface that I slashed, triturated, mistreated.
Portfolio
