My painting makes a direct link between landscape, music and colour sound. For more than 15 years, my research has focused successively on the representation of the rhythms of the landscape and their musicality, the transposition on the canvas the interactions between colour/form and notes/musical composition. "I don't see colours or shapes as in "pure" synaesthesia, but I look on the palette for the colours that give me the same emotion as this or that chord, note or musical extract. The structure, the composition of the music play however an important role in the composition of the painting. I discover music, I listen to it in a different way, its universe seems immense, inescapable, abstract. If the risk is indeed that of a chaos, sensory or intellectual, and if the questions are jostling about the relationships between colours, shapes, sounds and harmonies, in the end a pictorial vocabulary of music emerges or imposes itself". This work of pictorial recomposition or interpretation of music is therefore both spontaneous and linked to cognitive mechanisms, to an intuitive logic. Since then, I have been recomposing in painting the landscape with its music in its different series (Variations, Harmonies, etc.). The choice of music and the correspondence with the landscape, or the pictorial translation - synaesthesia - of the music borrows notably from the works of F. Schubert, J.-S. Bach, A. Bruckner or G. Gershwin. My painting thus proposes to discover the pictorial interpretation of music. My immersive exhibitions are most often associated with concerts (Les 100 ans des Pianos Hanlet, Printemps de l'Orgue à Paris). In this way, I offer the public a unique aesthetic experience of the convergence and correspondence of the arts, and revive the initial visions of abstraction and synaesthesia theorized notably by W.Kandinsky in the context of the Bauhaus. The particular work, "La Musicalité des Nymphéas", is the fruit of two years of work carried out in front of Claude Monet's original panels at the Musée de l'Orangerie. The exceptional authorization granted by the museum allowed me to work "on the motif", in front of the Water Lilies (2010- 2012). The series "Musicality of the Water Lilies" is proposed for interpretation to musicians and for a cycle of exhibitions and events with concerts in France and abroad. In 1917, Iris and Gerald Cantor Art Gallery in Worcester (US - Mass) organized the first exhibition of the totality of the coloured scores of the Water Lilies (all on www.waterliliespaintingmusic.com) I am the guest of colloquiums and meetings around the theme of the convergence of the arts (University Paris Sorbonne, Centre de la Musique Romantique Française in Venice - Italy, University Paul Verlaine in Metz). In 2014, I will participate in the international colloquium "La Fusion des sens - La Synesthésie dans le Texte et l'Image" at the University of Burgundy in Dijon, co-organized with Holy Cross College (Worcester - Mass., US). There I present "La valse" by Maurice Ravel as a synesthetic experience, the subject of a publication in Interfaces in 2015. My lectures on syntesthesia and the color of sounds are often accompanied by workshops that allow the public (all audiences) to paint the music ( Lycée International, St-Germain-en-Laye, 2018 - Worcester Museum of Art and Holy Cross College- Boston/US, 2017). My writings present an analysis of the evolution of the representation of music in painting, the birth and aesthetics of abstraction.