If, by definition, a sculptor works and models space, when I sculpt I perceive the space that is offered to me and of which my works will have to take possession; I do not shape my works from the outside, as a stone can be attacked by the chisel, but on the contrary I shape them in the very depths of their intimacy; I do not perceive any fundamental difference between a form that we call abstract or a form that we call figurative. Whether I make a bust, or make an abstract sculpture inspired by an interior model, I simply seek to create living forms. A living form is a pulsating, solid, tenuous form, which establishes a sound relationship with another form. A sculpture is a set of volumes that echo and hear each other. From this agreement harmony must be born, my sculpture belongs to the field of discovery. When I sculpt, I don’t try to illustrate a pre-established form, but I build a form that makes me recognize the feeling I have, and in the beginning is indecision: the open field of so many forms, so many possible destinies. Indecision leads to research: with my hands on the stone or my hands in the plaster, I look for a trace, a print, a reference point, a memory in the material, a clue... I cut, I sand, I push the material, then something happens; a tiny detail sometimes, like an echo or on the contrary like a call. I recognize an eye, a back, a vertebra, the sketch of a framework, a construction, a movement... In reality I recognize the beginning of a soul (of my soul...), the beginning of a structure, the beginning of a work... Then the sculpture takes shape... From a multitude of mysteries, in the middle of the dust of the workshop, I constantly try to reveal this form. The one I wore without my knowledge, the one that was buried in the matter?...whatever, it will be the one that will emerge from all my sensations of the present moment... The meaningful and symbolic forms or postures revealed by my desire will then calligraphy the matter that I will give to read. Half figurative, half abstract, my art travels between the two: in the curves and the delineated, faces, bodies, sensations, movements, rhythms are born, in this ballet of sensations, sometimes mythological creatures emerge, inviting allegories and memories, inviting the spectator to enter into the dance.
From 1990 to 2000, worked in the studio of Max Figerou, sculptor and graduate of ENSBA.
1991 A.D.A.C. Modelling course and moulding technique
1992 E.N.S.S.B.A. : modelling internship
Sept 98 - June 99 Plastic expression training ESAA Duperré
Sept 02 - June 03 Earth and fire training, casting techniques
Open house ATELIERS de Montreuil
Espace Scipion Martine Brebant/Laure Polin (Paris V)
Salon Nantes Interval
Cecile Charron Gallery
Château Lavaux Festival (Belgium)
Art event Namur (Belgium)
Croissant Gallery (Brussels)
Sculpture Biennale (Paris XI)
Shanghai Art Fair (China)
Guangzou Art Fair (China)
O’Fish Parade (Orléans).
Prix de sculpture de la ville de Conflans Ste Honorine
Prix de sculpture de la ville de St Jean le Blanc
Médaille de bronze de l’Académie des Sciences des Arts et des Lettres
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