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For the past seven years, I’ve been exploring and working on geometry and the issues linked to it. What kind of geometry? For what purpose? How can you insert geometry in space? What impact can it have on the viewer’s body and mind? How can we move forward with this practice, dealing with some contemporary issues?

During a residency in Texas (Houston and Marfa) in 2016, I had the chance to explore what is considered as a site. This trip made me discover a new territory, a new dimension, and made me understand better the work of artists that I always admired, like Judd, Turrell or Rothko. It generated some new questions, a new approach to the notion of moving, a move that makes sense, a circulation as a project.

I have always been fascinated by the Middle Ages, and I started to weave a link between this period, the 60’s-70’s and my own work, and that became the major line of my thesis. This link clari ed itself, among other things, around the concept of pilgrimage, this physical and metaphysical trip.
This writing was based on my intuitions, artistic and sociocultural invariants, that structured in three parts, cosmos, pilgrimage, geometry and a fourth part in which
I add my own work called music of the spheres. This thesis, called Narthex (space between the porch and the nave in medieval churches), is conceived like a pivotal, transitional space. This conception is close to my artworks that are created as some spaces of re ection and contemplation, that have an elevation potential for the viewer. Art becomes a transcendental vector. The material provokes the immaterial.

The idea of revealing something is always present. The form, that contains in itself the revelation is always tinged with clarity; by the purity of geometry, re ned and simple; and also with some mystery by its abstraction. This abstraction is not meant to be a comprehension barrier but on the contrary, lets the viewer have a total freedom of interpretation, with his memory, his sensations and his imagination. It is a creation of a possible experience that is offered to the viewer, that has always a central place in the conception of my work. He can project himself, he might not fully comprehend the whole work but he can imagine it by seeing and feeling it. Having various degrees of comprehension is essential to me, in the creation and conception there are some multiple levels, aesthetic, intellectual, conceptual, sensitive…

I enrich myself with tensions, that were in the center of the debates during the medieval era and in the 60’s-70’s, to which I add some contemporary issues in my work. Among these tension there are: mystery/revelation; microcosm/megacosm; terrestrial/celestial; ornament/sobriety; local/global; reason/faith; body/soul and also plenitude/parts; unity/diversity.

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– Études préparatoires à l’ Atelier de Sèvres (Paris)-2010/2012

– École Supérieure des Beaux Arts de Nantes – Obtention du DNAP en 2015 et du DNSEP en 2017

– Résidence Deserting the site – D.U.S.T, programme de l’École des Beaux Arts de Nantes et The School of Art at the University of Houston / Fieldwork: Marfa – 2016


– Collectif Composite – exposition collective – PARIS – 2015 – Marfa Sightings – exposition collective – MARFA, TX – 2016 – Marfa Sightings – exposition collective – NANTES – 2017 – Fin de party – exposition collective – NANTES- 2017