As part of my artistic practice, I address recurring themes such as the Man’s place in nature, the relationship of individuals to groups and the biological cycle of life.
Fascinated by scale games, I explore the representation of the living 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 biological species. The eternal questions on the origin, the nature and the purpose of life are omnipresent through this distortion of scale.
The choice of working with clay is significant 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.
By engraving, imprinting, stamping textures into the clay, I establish a plastic vocabulary that translates the passage of time and carries a symbolic message. Marked surfaces resemble a skin or bark that let us perceive a story, both intimate and universal: that of the inevitable transformation of matter and body, in symbiosis with nature and infinitely transmutable. Through a production of sculptures (often monumental), bas-reliefs and clay installations, I create a world where current concerns and existential questions overlap. The human being is represented both as a singular individual and as part of a whole much larger than him: the human species and nature. This tension between present and infinite time, between the part and the whole, establishes a temporal and spatial scale which gives another dimension to our daily reality.
Through visual metaphors where characters take on fantastic looks, questions such as the purpose of life, nature and its power of regeneration mix with contemporary concerns such as identity and communication in a digital age.
My work is filled with a strong symbolism, often revealed through an advanced work of textures. These traces, vestiges of a past time or expression of an interior world, constitute a plastic vocabulary which reveals a history inhabited by passage of time, transformation and mutation.