Born in Poitiers in 1978
Lives and works in Bordeaux – France
A baroque spirit for contemporary concerns
I work on 3 main topics: the links between human and nature; the duality between life and death and the dialogue between tradition and modernity. Woman has always been central in my work. In my most recent works, she pursues her metamorphosis started several years ago into hybrid beings; mixes of history, myths and chimerical dreams. And for the very first time, the human figure now disappears totally from my work, invaded by a profusion of wildlife and flora elements. Conjugating ambiguity and employing metaphors, my work wobbles between a prophetic picture announcing the birth of a new living being, human body with a half-animal half-vegetable face; and the onset of death caused by a hungry nature wanting to take back its rights. Symbols are strong and everywhere. Snakes, butterflies, chrysanthemum, vanitas, egg… such classical symbols so often used in history of art, but also chosen for representing both life and death or idea of cycle of life.
Like a baroque jungle, I mix times and cultures, trying to create a dialogue between tradition and modernity with a contemporary vision and concerns, offering an aesthetic and poetic break where the luxuriance is my language; the contrast is my rule and the dramatical suspense my quest.
The choice of porcelain
Before beginning working on ceramic, I have been working on a specific technique of cutting artworks for more than 10 years. Four years ago, I wanted to make a break and get back to a more traditional medium. I’ve had the opportunity to go working as an art resident at La Manufacture La Seynie. Founded in 1774, La Seynie is the oldest Limoges porcelain manufacture in France. Limoges porcelain is a fine translucent hard porcelain fired at 1400 ° celsius, equivalent of Sèvres, Meissen or Nymphenburg. I immediately felt that this medium will allow me to confront my deeply contemporary vision of art across a traditional and ancestral technology. So I plunged with passion into this difficult technique. White porcelain was a first step, but I rapidly needed to get back drawing and painting. So naturally, I began learning china paint technique to add drawing on my pieces. I produce all my porcelain pieces between la Manufacture La Seynie and my own studio in Bordeaux.