IMPRINTS, GROOVES AND HOLES ARE VERY PRESENT IN MY WORK, CONSTITUTING A PLASTIC VOCABULARY THAT REFLECTS THE PASSING OF TIME. TEXTURED AND PERFORATED SURFACES RESEMBLE A SKIN OR BARK WHICH FIBRE WOULD LET US PERCEIVE A STORY BOTH INTIMATE AND UNIVERSAL: THAT OF THE INEVITABLE TRANSFORMATION OF MATTER AND BODY.
Fascinated by scale games, I explore the representation of the living and more particularly that of the human being through different lenses. I get near or away from the subject until the infinitely close and the infinitely distant are confused. Some of my works evoke the microscopic level of a cell, some refer to the social individual, some display even more distant plans, those of the group or the biological species. This relative scale allows alternately to see the body as an immense planet sheltering other systems and living organisms or to bring it back to a tiny part of a much larger whole. Thus, the body is seen sometimes as a landscape, sometimes as a part of a landscape. The eternal questions on the origin, the nature and the purpose of life are omnipresent through this distortion of scale.
Closely linked to these concerns, the finitude of the living body is also a recurring theme in my sculptural practice. The body is seen as a matter participating in the eternal cycle of resumption, in symbiosis with nature and transmutable to infinity.
My works have affinities with so-called primitive art. Like many sculptors of the XXth century, I am seduced by archaic art, at first for its statement which deals mainly with the place of man in the universe, but also for its authenticity.
The choice of working with clay is not insignificant in my approach. By using this material, I claim an affiliation with a millenary art. Even more, raw material of the living, clay carries in itself the very notion of creation, transformation and new beginning. I thus make a semantic use of it.