I always had a love for "matter" and "materials". First the earth at the origin of my first strong emotions, when, very little I made balls of earth, and then watched with marvel, their long drying process, and then came stones, all stones. I would pick them up in the mountains and collect them. My studies to become a geologist were just a way to continue indulging in my fascination for stones and minerals. Today, sands, mica, corindon, and rock crystals dress my "people".

My artistic evolution led me towards drawing real models in the "Pierre Soulages studio" in Charenton. Very quickly my personal way of drawing lines imposed itself to me as an evidence to reach a synthesis of human form, which tries to grasp the heart of being and presence; way beyond the representation of the body and the human figure.

I knew that light is more important than colour and so I went towards fresco painting, which seemed to be the best technique for my research. The starting point of this choice was the artistic emotion I felt when I first saw the paintings of Fra Angelico in the monks cells in the monastery of San Marco in Florence. Studying more deeply the fresco technique allowed me to increase the light radiating from the color embedded in limestone and marble.

The transition to sculpture happened almost naturally, as if without me, as though it was terribly important to rediscover the feelings of my childhood fed by my attachment to the material, earth. Beyond the purity of lines, I was full of questions :
How to put in volume a head made with only one line? Then came this bias to shape the heads without observing the usual conventions.
How to make the statue more human without blocking it in a kind of
aesthetics? This is how the scarifications appeared, maybe traces of life wounds.
How to relink to the origin, that of man and the earth? By giving life to these "people" apparently lifeless but inhabited, related, connected who make their way inside us and reveal to ourselves our part of humanity and take us into a world where existing is also resisting.