Professor of visual arts for 22 years in the academies of Grenoble, Poitiers, Nouméa. Artistic practice alone since 2011, the absence of a frame makes painting and canvas work in the same movement; only the bare canvas and the pictorial fact without any other constraint than their suspension. The canvas in addition to a support then participates in the movement of the shapes in the image. A moving and active support, also recalcitrant. And the entanglement of exploited vegetable forms, often oversized, works with a coloured system unsuited to a realistic approach and a rough treatment of the figurative form by the gestures and viscosity of the painting. my work is therefore most often done on a free canvas support, without a frame, raw and old, diverted from its primary function. This support is irregular, sometimes edged with a seam or cut raw, with visible threads. The unstressed canvas is refractory, the cutting of the support, the defects of the weaving, resonate with the worries of the painting. Images at the border of figuration; reality is a raw material, a starting point; my recycled fabrics are a great story of thread, embroiderers and needles, wax, dirty hands and solvents, clothes and patterns, accumulation... Here, they are old embroidered fabrics, openworked, reprinted, linen sheet, mixed, cotton, hemp, waste. He has lived through ages, lives. I miss him when I can’t handle him, tinker with him, crush him. Without a frame to stretch it, it is resistant, I sew it up, I iron it and I coat it with resins. I notice it in the workshop. Vertical, the coating makes it strong. And it is always suspicious under a thin layer or a large bark of colour that he tells his singular way of still being there, from canvas to canvas, another armor, another wall. The plants climb up, the colour sometimes runs off, the dimensions are obvious; the close-up, the out of frame, the diversity of formats, overflowing on all sides. And this recycled fabric carries again and shows the stem, the fibre from which the canvas comes.