My paintings are the reflection of a suspended reality, of tortuous bodies abused by my brush. The play with the limits of human anatomy is at the heart of my practice, as well as the relationships and feelings that are transcribed through the physical embrace of bodies.
The body is thus the main vector of emotion while the face is delegated to a more enigmatic role.
Disappearance is a recurring concept in my practice, the protagonists disappear into the colored background, caught up in the background as if they were imprisoned in it. The backgrounds are always of paramount importance insofar as they participate in contrasting the canvas by bringing a calm and a softness to it. I work to bring them in front of the eye by adding material or by playing with a certain transparency. The bodies are always off center so that they are not the heart of the composition. They share the visible space with the background, which then becomes a real element of the canvas.
No perspective governs my paintings, the characters cohabit and take place in their own diegesis, which does not respond to any existing surface. They float in an alternative time that is their own.
I also cultivate a taste for the unfinished, which leaves me free to return to my work even years after the first brushstroke. This characteristic also plays a role in the concept of appearance and disappearance that I like to stage.
I paint the majority of my works on canvas but I also use recycled materials such as cardboard, wood and various pieces of furniture. I work mainly with acrylic and watercolor.
My apprenticeship at the faculty allowed me to deepen my knowledge and to intensify my artistic practice. It is with these two tools that I am constantly searching for new forms and compositions that will organize my paintings.