(History and route)
Born in 1971 near Bordeaux, I grew up in South-west of France, among the vineyards, the pines, the Arcachon Bay and the ocean. I remain very attached to this crescent which extends from the Basque country to the estuary of the Garonne. Today, I live in Switzerland near Lausanne, in the peaceful village of Penthalaz located at the foot of the Jura.
My university and professional route is at least sinuous if not atypical. This is due as much to my curious and voluntary nature as to the vagaries of life that always ask us to adapt ourselves: I obtained a Bachelor degree in Applied Modern Languages in English-Spanish, another one in web design and a Masters in Sustainable Development. But I have worked for a long time in the German-speaking part of Switzerland, in Zurich, in computer science, translation and subtitling of films as well as claims in banking...From now on working as a freelance in the canton of Vaud (Switzerland), I animate painting workshops for children at Le Mont-Sur-Lausanne and I give tennis lessons at Bussigny.
Art and sport are essential to my balance, one does not go without the other. Despite my health concerns related to ankylosing spondylitis that requires a lot of effort and will, the need for expression has always been there, vital. Writing has long been my passion. I tried the novel, wrote some short stories and still compose today poems or songs with my guitar. In fact, writing offered me a springboard to a passion that took up all the space, painting.Click here to Read More
I have long felt the desire to paint without daring to take the step. In 2010, my brother left us and this drama darkened the existence. Painting, consciously or not, has become the most direct link to light, a means of priority expression, a necessity.
Being of a sensitive and false-quiet nature, the painting helps me to tame my fears, to channel my emotions and to express myself. All stages of creation are exciting, and it is a work as intense emotionally, physically as mentally. Self-taught by nature, I love learning, doing research, reading the methods of some, the opposite of others. Painting is real work, in the noble sense of the word. It requires a lot of humility, accepting failure, making mistakes and starting over. The more I paint, the more difficult I find the painting.
And if there is self-satisfaction, it is never very good sign because I often need to work again on the project to solve this or that problem that only a step back allows to see. However, I also learn to be in a dynamic of tolerance towards my work. You must also know how to let go of your project at a given moment. And then the desire for creation encourages me to start another project.
I work on series, often on several projects in progress. Today, I paint on medium and large formats mainly with oil. I use brushes, knives as well as oil sticks or oil pastels for their spontaneous, expressive character and the physical approach they provide.
My small format paintings and drawings are like recreations, they allow me to try new things. On sketches, I mix mediums, wax crayons, woody, pastels, blood crayons, black and white or color. This approach follows that for writing: when I was working on my novel, I wrote poems or short stories in parallel. This approach reassures me and allows me to keep a certain airiness. In fact, I have started writing again, haiku poems accompanied by abstract drawings.
As new technologies interest me, I also paint on a digital tablet. I use a digital pen or brush and an application. As with lithographs, I limit my creations to 10 copies and have them printed on art paper by a professional who makes good quality prints.
Like many, I admire the great impressionist painters, but all styles interest me as symbolism, expressionism or the works of contemporary artists. Getting all these energies, those of the past, of the present, following the artists of today who make admirable and stimulating work. I wish to try any style or technique. I might as well choose to confine myself to a medium to hope to master it one day, but it is very difficult and keeping this freedom of exploration also seems essential to me in the creative process.
I create mainly in my workshop but I love to paint more and more en plein air, even if I have to find adapted solutions because of my health concerns. Today, I mainly paint landscapes. In my approach, I wish to evoke or suggest the strength of nature, but also its softness, its fragility. The theme of "presence", among others, interests me a lot. Man's, like nature's. In fact, I do not believe that landscapes can be painted with total contempt for human nature. If the characters are rarely present in my painting or almost nonexistent, their presence is often somewhere: when we paint trees or apple trees, we must not forget that they have been often planted or carved by men. We could multiply the examples.
In my painting, I like the idea that there is no precise time. I do not claim a certain timelessness, this nuance is important to me because pretending to paint the timelessness is presumptuous. So I often remove electrical wires, barbed wire, turn roads into ways or simply hide them. It is not about being nostalgic, even if I am sometimes nostalgic by nature and too bad if it is not in tune with time. The idea is rather that we do not really know what time we are. Maybe it's yesterday, maybe it's still tomorrow. Keep the illusion that there will always be places a little wild, or at least where the presence of man will remain discreet, adapted.
Hence these notions that I like enough: melancholic agitation, balance in motion. I imagine nature as in a tremor, it is both motionless and moving. I try to make my painting alive and free to the one who looks at it to create his movements as his pause times.
One day, a very good friend suggested to me to paint subjects, that are more involved or related to what is happening in our world. This reflection makes sense. I'm not saying that I will not change themes or angles of approach. But for the moment, I consider that to paint landscapes remains a modern argument.
I feel close to environmental movements. I support actions that encourage personal and collective well-being. But my artistic work has neither the pretension nor the will to be part of a form of judgment, but rather to approach the themes with humility. This does not preclude doing so with strength and conviction, and it is also a form of commitment. To arouse an emotion, to accompany the spectator towards a kind of inner reflection, it will already be a beautiful success. I think I get tired of moralizing speeches.
If the creative process remains very personal and most of the time solitary, I like the idea that once finished, the work no longer belongs to me, or at least not quite anymore. Because then it also exists in the eyes of one or another. Finally, it is even a privilege to see one of our creations, even if only by the glance or a visit, enter the intimacy of others.