I first set up a solid contour with a pencil, a marker, a brush and then overflow these marks with a knife, a cloth, a finger, solvents. I ornament and erase – sometimes to the point of destruction.

Keeping a simple figurative outline as a guide, I embark on an abstract exploration of intimate and visceral sensations.

I work in a hurry, torn between the modest restraint of an adult and the limitless fantasy of a wild child.

How to say no 2022

oil on canvas 55 x 46 cm

Since I have few filters, I created an image of a cover shell on top of an old work that I found too graphic and explicit in its vulnerability and dependent submission.

The subject is well delineated, covered in layers of red and blue. The background is covered with putty color.

How to say no is sometimes a painful exercise that triggers twisted mechanisms of guilt and uncomfortable vulnerability.

I created an aesthetic of disfigurement to be able to integrate the image and the idea that you can’t always satisfy the other and be in harmony with yourself and your intuition. This portrait is that reminder. An alert to save one’s well-being, to resist the injunctions of the outside.

In a vent of rejection, I covered the mirror in which the other projects himself, wanting to confirm my own identity, my singularity, my difference from the other.

In her album ‘Ray of Light’ Madonna sings in ‘The power of say goodbye’: Freedom comes when you learn to let go. Creation comes when you learn to say No’.

I wanted to create a liberating ‘No’.

Jocasta 2021

ink and oil on canvas 55 x 46 cm

A universal image of a young girl who contemplates her destiny. Above all, I erased the image from the photo of a beautiful innocent young lady, to bring out her vulnerability and her disarray, her lack of identity.

In my own identity confusion, I reflect on my ambitions, my resistances, my guilt-inducing constructions. I restore, I rebuild with ornaments, I decorate, to repair, add a protective bubble or a corset that contains dignity.

I, a human, in the face of these great questions and the great feelings that accompany them, look for meaning in universal heroic stories.

The reference for this work could have been a photo of the young deceased Elizabeth II of England. She lands on the throne because of coincidences she declines instead of being able to choose for herself. She assumes and will become the greatest queen of the century.

The name Jocasta refers to Oedipus’ mother, who also had no idea what would be her destiny.

.

Oh boy ! 2021

oil on canvas 55 x 46 cm

Another image on the transition from childhood to adult life.

A confused young man is overwhelmed by the impressions that surround him and lacks references to digest them.

In a mixture of tenderness and suffering, he does not resist, he submits to the dynamic.

The disturbed kid in me wades in his childhood, in the splendor of his clumsiness. It appears in irregular spots in its truancy.

This work highlights and rehabilitates the wounded child. On a black base, shades of pink and pistachio fight against each other and seek their place, their intensity, their limits.

One eye 2023

oil on canvas 55 x 46 cm

 I often use photos of the same model that exudes the virile arrogance of a petty thug and the insecurity and vulnerability behind it.

In my game of The seven families, it is the son, whom I imagine in the intimacy and softness of his bedroom. It is more blue than pink.

I observe it as if through a keyhole. He is only with himself, in a moment, between his past and his future.

I make corners of a frame and a protective halo on his head. I wanted to blur his intensity, to calm him down, to reassure him.

In the blue disarray of his mental constructions that mix with red, he is in the duality of one eye open and the other covered.

New Avatar 2022

oil on canvas 150 x 50 cm

In the continuity of my previous work on X-rays, this avatar presents the contours and interior of a female silhouette. Arabesques of lines intersect and merge to suggest its internal anatomy. The colors red, pink and fuchsia refer to the flesh, the liquids that dance through our veins, a luminous circuit of vital energy. You don’t need legs to create the illusion. The figure has no support in the present. It is a futuristic vision, a fragmented apparition that visits us, and that could disappear again instantly like one turns off a light.

In the background, the outlines of a man and a pedestal can barely be guessed, the traces of a male image, painted in the past.