My journey
As a contemporary painter, sculptor and ceramic artist, I explore material as a language in its own right.
My artistic practice brings colour, texture and gesture into dialogue, revealing a tension between raw strength and a delicate sense of balance.
From Image to Matter
My artistic journey began with photography, a true school of seeing. It taught me to observe the forms, rhythms and colours of the world. But I soon found the image too limiting, too static. I felt the need to touch, transform and give greater substance to the work.
Material then became central to my practice, first through framing and later through painting.
Colour, Identity and Territories
Discovering India marked a decisive turning point. Colour is everywhere there, deeply rooted in culture and identity. This revelation inspired my exploration of chromatic worlds and the geography of colour.
My first abstract paintings incorporated materials connected to the places they evoked — textiles, wood, paper and found materials — grounding colour in a sensory and cultural reality.
Living Matter
Gradually, the flat surface was no longer enough. The material thickened, taking shape and becoming sculptural. Largely made from reclaimed materials, it is worked by hand, assembled and set into plaster or adhesives until it becomes the very body of the artwork.
Colour is never merely decorative: it becomes skin, a means of revelation, a bearer of meaning. It is through this dialogue between material and colour that my artistic language takes shape.
Painting, Sculpture, Ceramics: One Language
Ceramics naturally extends this ongoing exploration. Working with clay deepens my physical relationship with material while introducing the unpredictability of fire. Glazes, textures and the unexpected effects of firing enrich this research, creating a balance between control and letting go.
Painting and ceramics are not separate practices: they are two facets of the same exploration.
An Evolving Practice
My artistic universe moves between abstraction and echoes of reality. It draws inspiration from travel, cultures, memory and questions of identity.
I do not seek to represent, but to evoke — to awaken a sensation, an emotion, a presence.
Each work is an invitation to see differently, to feel, and to connect with the 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 BurriHe is the pioneer of informal art. Like him, I felt a physical relationship with the canva’s surface that I slashed, triturated, mistreated.
Portfolio
