2024
In mythology, I see the shared condition of humankind. Through myth, I hope to touch upon the cycles and psychic structures of human nature, transforming them into a contemporary metaphor. The Tower of Babel—symbolizing the conflict between order and freedom, humanity’s desire to conquer everything, and the eternal cycle between order and chaos—fascinates me particularly in this era of “man-made gods.”
I seek to build a connection between the ancient and the present, allowing individual consciousness, experience, emotion, and imagination to encounter collective history, myth, reality, and prophecy upon the canvas. In this way, creation becomes a form through which existence unfolds—a bridge linking the self to others, and to the dimensions of time and space.
Manifestation
After the shift from expression to manifestation, painting no longer seeks to represent the external world, but to reveal an inner truth — to move from imitating the world toward generating another. It detaches itself from dependence on images, becoming instead the embodiment of emotion, rhythm, and consciousness — an emergence of energy itself. At this point, seeing is no longer merely looking; it is experiencing a pictorial event. Painting thus becomes a way and a process of knowing and being — a path for communicating with the world and conversing with the self. In this transformation, painting regains its own autonomy as a living presence.
2024
I wanted to explore, through painting, how to express my perception of the madness, alienation, and loss of control that have defined the post-2020 era. Inspired by the Dancing Plague of Strasbourg, Goya’s The Great He-Goat, and Dürer’s Four Horsemen, I drew upon the compositional language of Matisse’s Music and Dance to create the series Music, Dance and the Four Horsemen.
2023
Dans le monde visuel, certaines figures me touchent profondément : les orbites et la bouche des aveugles dans La Parabole des aveugles de Bruegel, l’âne chez Goya, les sculptures grecques antiques fragmentées, les épis et les casques de Lüpertz, ou encore le canard sans plumes de Galust… Chacune, à sa manière, fait apparaître l’« humain ».
Ces images se sont déposées en moi comme des empreintes spirituelles de l’homme. J’essaie d’enregistrer et de reconstruire cette « figure commune de l’humanité », en l’intégrant dans la structure du triptyque — une forme qui permet d’ouvrir plusieurs perspectives et temporalités, pour que les figures puissent exister dans l’expansion et le contraste.
2024
n 2020, the pandemic forced me to confront death and greed directly. Afterwards, I created the Death and Mourningseries, during which I realized that the true challenge for an artist lies not in how to create, but in how to exist — how to find balance between reality and the soul, allowing art to become a way of coexisting with life. When art is no longer a means of escape but a path of dialogue with existence itself, pain transforms into the price of lucidity.
I began to withdraw my attention from the external world, exploring inner experience and perception. I no longer asked: What does the world look like? but rather: How do I feel this world, and how can it manifest through creation?
2019
Through feeling, I want to manifest something unreal yet true, allowing creation to become a spiritual event: to make the invisible visible, to let existence itself speak. From this intention emerged the Meat series.
2024
“Man shall not live by bread alone.”
While exploring the theme of human “mutation,” two figures constantly draw me in: the bowl and the bread. I see in them the very root of humanity’s transformation, born from its own fragility.
2023
En raison de mon propre vécu, je me méfie toujours des rituels qui nous font abandonner le soi dans l’émotion pour nous fondre dans le collectif. Face aux sons rythmiques, aux gestes répétitifs, aux émotions exaltées, je ne peux m’empêcher de penser à la biopolitique d’Agamben : lorsque l’être humain s’abandonne aux comportements ritualisés, l’existence elle-même commence à se métamorphoser. J’ai alors commencé à m’intéresser aux postures — empreintes du pouvoir et de la conscience sur le corps — et à interroger la manière dont le pouvoir réécrit silencieusement l’existence humaine au sein de l’extase collective.
After creating the Human–Beast–Ghost series, I felt a strong urge to understand how, in the process of growing up, a person gradually mutates — living in ways no longer truly human. From this reflection emerged the beginning of my series Pavlov’s Children.
2017 - 2020
2014 — 2023
Certain events in 2012 allowed me, for the first time, to catch a faint glimpse of another world. Since then, I have used art to ask: What kind of world is this? and What kind of people inhabit it? Through documents and images, I reconstructed my understanding of history; when those fragments were reassembled, I was deeply shaken, falling into a long silence to which I responded through painting. Basing my work on images, I incorporated collage and processes of de-identification, rebuilding a new order within the picture plane. During this period, I sought a foundation for existence within the figurative world, yet yearned to move toward a deeper truth.
Exploration
2021