Mon travail interroge le paysage naturel, ce paysage est le premier médiateur, un bloc d’interprétations, un ensemble.

Je collectionne les cailloux, les bois morts, les traces du fleuve et des arbres. Une fois ces cailloux rassemblés et sélectionnés à partir d’un jeu de correspondances et de références subjectives, je les aligne et crée une écriture des pierres qui redéfinit un imaginaire.

L’assemblage des pierres renvoie aux premiers caractères, et devient un répertoire de formes, une réserve poétique d’objets naturels transformés par le travail des éléments et du temps.

Stones : it all began with a stone which, once handled, dreamt, assembled, planted upright, became a human shape. My work considers the natural landscape; this landscape is the primary mediator, a bloc of interpretations, a whole.I collect stones, dead wood, traces of the river and the trees. Once I have gathered the stones and selected them through a game of subjective connections and references, I align them and create a writing of stones which redefines an imaginaire. The stone assemblage refers back to the very first characters, and becomes a repertoire of shapes, a poetic reserve of natural objects transformed by the work of the elements and of time.

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Pastels : using the full graphic potential of the medium and the image, up to the point of mineralization, of concretization. Signs that become hieroglyphic characters.

Pastels récents - Recent pastels

Paintings : multiplying the process by using the full potential of the image (here L’Arbre aux figures (the Tree with Faces). The clay technique offers other possibilities that are like sketches for three-dimensional works.

Peintures récentes – Recent paintings

Imprints : Art began with body imprints on the walls of caves, where the species searched for its identity. The imprints I make on trees and stones seek to grasp something about the body of the tree or stone. Imprints are a carnal link with place.

Le geste de la pression des mains devient prise de possession, acte primitif, qui, une fois les objets refaçonnés par les différentes techniques plastiques, sont investis du poids d’une histoire et deviennent des icônes de la nature, des hiéroglyphes de la mémoire.

Ici, j’enregistre sur ces arbres-totem une empreinte qui met en oeuvre comme pour la photo, ce retournement, du négatif et du positif. Geste d’arrachement où ces « restes » d’arbres à la nudité minérale deviennent de fragiles membranes qui révèlent à travers la profondeur de leurs surfaces, à l’organicité figée, l’épiderme d’une unité en devenir.

The movement of the pressure of the hands becomes a way of taking possession, a primitive act which, once objects have been reshaped through different artistic techniques, carry the weight of a history and become icons of nature, hieroglyphs of memory.

Here, I record on these totem-trees an imprint which implements – as photography would – this reversal of the negative and positive. A wrenching gesture where these “remnants” of trees with their mineral nudity become fragile membranes which reveal through the depth of their surfaces, with their fossilized organicity, the skin of an entity in the making.

Terre Blanche – White Clay

Terre Rouge – Red Clay

Terre Noire – Black Clay

Embroideries : I draw inspiration from imprints and pastels to embroider form which has become a carapace, a sarcophagus, a protective shell, a cloak.

Installations : my artistic approach relies on key concepts – the Tree for example – using multiple mediums, imprints, paintings, stones, clays and pastels, with which I set up my installations. Here are a few examples.