Biography
The felt pen drawing on pages of paper allowed me to fully satisfy the desire to make visible the invisible, authorizing me to consider all the dimensions and shapes. From the simplicity of these tools suddenly arised a great freedom: by traveling light, I can thus carry the world under the arm.
Besides, by performing digital photography and retouching but also by surfing the web for the image search that I need to design my projects, my eye was slowly imprinted to the pixel patterns. So, I chose to draw on this one in order to develop at the same time a wide variety of light and color shades and a high resolution of details.
Moreover, the polymorphic feature of the drawing gives me the opportunity to design my works on paper and in space through installations (wallpaper hangings, polyptyches, showcases, cabinets, arborescences). Mille Grâces (One thousand graces) takes part in the tradition of portrait galleries. With Voyage immobile (Motionless travel) I reconstituted a dreamlike interior space, by thinking of pompeian trompe-l’œil. In Mon père n’est pas Leonard Cohen (My father is not Leonard Cohen) the effect of mirror grants a reflexive dimension: the spectator contemplates an illusion of mirror of which the reflection is not his own but send him back to his parental relations. As for the hanging in cross of the four drawings in Ages (Ages) takes back the time dial to represent the four times of the human being like those of the humanity. Therefore through my next projects I plan to keep on experimenting the drawing in space by creating a work on several pages which will hang on different plans, or by suspending another one like a mobile, confronting plan and volume thanks to the anamorphosis.
Finally, when I design a work I always have in mind the work of other artists, musicians or writers. That provides my whole work with the shape of a collection, the cabinet of my curiosities, as a matter of fact.
