Since 2007

In 1998, after five years exploring the creating process through art ‘s languages and the piece of work’s logics, I graduated from the National Arts School of Cergy Pontoise. There, I chose painting and drawing, placing my work under the sign of permanent experimentation of the contact, communication and exchange modes between a living body - mine -, and the canvas surface, that is to say, the other one, being together projection surface and object forever different from me.
Then I got involved it in a wider work about weightlessness and centre of gravity, in collaboration with the dancer Kitsou Dubois, who teaches me how to open my own body’s space by visiting it from both inside and outside. And this is the very space I must translate onto the flat surface of the canvas; this is the complex ordering of strengths that upholds life, and this is what painting must support. One will thus tell about my paintings, my drawings, that they are “mental landscapes”, lightly dense, spiralled, off-centre; lines and coloured surfaces interlacing, hybridizing after encounters, sometimes jostling together and breaking because of their differences, or adapting to each other, to capture the “almost nothing”, the “certain something” that is time.
Drawings and paintings then open up to the succession, transformation, temporal mutation of image, since they are the strap work of past, present and future times. They gather, contract, dilate, proving their living presence. Their subject, as for the artist-subject, becomes the time. This is why, following a collective exhibition, “Double Bedroom”, organized by Alain Le Gaillard Gallery in Hotel Louisianne in 2002, my first personal exhibition was called “The Butterfly’s Effect” (Beaubourg Gallery, 2003). More recently, in 2006, my “Bubbles” exhibition at Beaubourg Gallery triggered a dialogue with Elsa Ayache, teacher and PhD student in visual arts, about a “distant cohabitation” between the painting and the digital worlds.