Sensitive and curious, between past, present and future, my eye is drawn to what we are and what surrounds us.
After specialising in the chemistry of odorous molecules, I discovered art at the Ateliers and then at the Ecole des Beaux-arts de Marseille, which I entered by competitive examination in 2008.
In space design, a subject caught my eye: ‘Contact, Gap, Balance. Creating a sculpture’. The words resonate. Contact: getting closer, Gap: stepping back, Balance: harmony. They make sense and stimulate my creativity, which freely proliferates in many directions to give rise to a body of research on volume.
My discoveries of architecture, the artistic explorations of the Bauhaus and the work of the Russian avant-garde on geometric forms, space and movement have had a considerable influence on my research.
My interest in art stems from what it suggests as possible relationships between Man, Space and Matter. It provides me with an inexhaustible field of freedom and experimentation.
My approach is intuitive and experimental. My main sources of inspiration are: Nature – from minerals to plants – Man as a whole – body, mind and function – and my environment. Using graphic and plastic processes, I seek out new aesthetic forms. Drawings, paintings, collages, sculptures and installations are the techniques I explore. By confronting and combining them, I create works that resonate and intersect with strong notions such as construction in the sense of elevation and movement, which I associate with life and evolution.
The shapes I work with borrow from the worlds of geometry, minerals and the organic. They are linked to the memories of their encounter. Lozère, the land of my ancestors, was a fertile ground for observing Nature and my studies of the atom and the human cell.
Collages are the most important part of my research work. I am spontaneously drawn to this technique. I make them from photos of building materials: industrialised concrete forms, reinforcement, PVC foam sheathing, wood, etc. I print them and then cut them out to shape. I print them, then cut them out, sometimes following the shapes I’ve seen, and recombine them on cardboard or paper. Sometimes I combine the drawing to underline, close or extend a shape.
I reorganise the space, finding new shapes and observation planes where the eye circulates, stops, gets lost, goes back, questions. I build… I build with ‘flat’ elements of reality. Made of light and shadow, these games reveal shapes, depths and textures. Anything goes, and the combinations follow on from each other as I make my discoveries.
In sculpture, the materials I use come mainly from construction: wire mesh, wire, PVC tubes, polyethylene foam, or from my everyday life: packaging, wood, cardboard, etc. I’m interested in their deformation and elevation, and don’t hesitate to combine them to analyse the effects produced and reinvest them in new devices.
In November 2020, my collages move from the second to the third dimension. Drawing inspiration from the geometric shapes in my collages, I created a series of cardboard models without any preliminary stages. This material attracts my attention because of the warmth it radiates, its earthy colour, its flat surfaces and the speed with which it can be glued. Through these spontaneous games of construction, I explore the principles of free three-dimensional composition and am interested in the expressiveness of form.
The collage of these sculptures on cardboard sheets that I position vertically leads me to question the treatment of verticality through line. By adding light, flexible structures to the arrangement, I question the verticality of the curve.
