My work explores the relationships between space, colour, light and perception.
I often start with a figurative motif — a landscape, an interior, a figure, or a visual memory — which serves as the starting point for the composition. As the work progresses, this reality gradually shifts. Forms simplify, planes move, lines find their own order, and colours begin to assert themselves independently. The image slowly moves away from its origin, becoming a space where figuration and abstraction freely converse.
My background in architecture has deeply shaped the way I see things. It taught me to think in terms of space, mass relationships, directional lines, voids and solids. In my work, space is never a mere backdrop — it becomes an active element of the composition. Forms attract, oppose, or balance one another. Colour isn't just there to dress the surface; it builds the space, reveals tensions, and brings a presence to life.
I never start a piece with a fully formed plan. I may have an intention — tied to a series, a line of inquiry, or a particular visual question — but I always keep the process open. The first shapes and colours appear almost blindly, without trying to control the outcome. Little by little, an image begins to emerge.
From that point on, chance takes a step back, but the dialogue continues. I observe what appears, then erase, correct, shift, and adjust shapes, colours and balances. Each move gives rise to new possibilities, which I then respond to in turn. The work builds itself gradually through this ongoing exchange between what surfaces and the choices I make. I discover the image along the way, just as it discovers itself.
Each series develops its own visual language.
The Cocon series explores the tensions that organise space. Forms initially seem held within dense structures, until balances gradually shift. An energy circulates, gathers, releases, and slowly transforms the composition.
With Cartographie intérieure, space becomes a mental territory. Lines, planes and passages draw an ever-changing inner geography, where memory, perception and imagination move freely. It's not about depicting a place, but about opening a space for contemplation and multiple readings.
The Grey series looks at how life emerges. A vital energy concentrates at the centre of the composition, slowly transforms, and eventually reveals the seed of a new form. What remains invisible plays as much a part in the composition as what is shown.
Watercolour, oil painting, and digital art are three complementary expressions of the same underlying enquiry.
In my watercolours, the landscape remains recognisable, but the play of light, the layering of planes, and the colour relationships already hint at a shift toward a more constructed language. Oil painting allows me to pursue a reflection on human presence, while digital art offers a compositional freedom where space itself becomes the real subject.
I don't seek to impose a single reading.
I like the eye to take its time moving through the image, gradually discovering the relationships between forms, colours and spaces. Everyone can enter with their own sensibility, projecting their own memories, emotions or imagination onto it. The work doesn't deliver one fixed message; it offers an experience of perception and contemplation that continues to unfold in the eye of the beholder.
I'm less interested in representing the world than in revealing an image in the making. Each piece is an exploration, each series opens up a new territory, and each one extends the same ongoing enquiry into structure, colour, light and perception.
"Artworks have the power to touch our soul."
