ARTISTIC APPROACH
My creations feed off of what I am, what I contemplate, my aspirations… but also of my artistic knowledge.After having obtained my PhD. in Plastic Arts, I got the idea, the desire, to create my first sculptures. Simple shapes to begin with, I began to add complexity to them by harnessing plant and animal morphology (baskets, flowers, animals…). My knowledge and my skills developed from a foundation in ceramics. The discovery of new techniques and new materials continued with each piece. Each animal, each plant, requires a body, a materiality of its own. Much more than a mere imitation, it was a veritable anamorphosis, a rise in form, a birth of shape in and of these materials.
Much more than the representation of figurative scenes, the precision of detail, obtained with very fine instruments (needles, scalpels…), the study of anatomy and environment in which an animal lives, in a naturalist vein, conferred upon these scenes a hyperrealistic character. And it is, without a doubt, this character which unites, which harmonizes the whole of this piece. Each sculpture is realized from the union of independent sculptures (animals, flowers…), that is to say, the union, the meeting, the dialogue which is created between contemporary materials (silicone, resin, Wepam…) and traditional ones (porcelain…). This mixture allows me to surpass, to bend traditional technical knowledge. I push to the extreme my know-how (sculpture, painting…), materials, and techniques.
My creations feed off of what I am, what I contemplate, my aspirations… but also of my artistic knowledge.After having obtained my PhD. in Plastic Arts, I got the idea, the desire, to create my first sculptures. Simple shapes to begin with, I began to add complexity to them by harnessing plant and animal morphology (baskets, flowers, animals…). My knowledge and my skills developed from a foundation in ceramics. The discovery of new techniques and new materials continued with each piece. Each animal, each plant, requires a body, a materiality of its own. Much more than a mere imitation, it was a veritable anamorphosis, a rise in form, a birth of shape in and of these materials.
Much more than the representation of figurative scenes, the precision of detail, obtained with very fine instruments (needles, scalpels…), the study of anatomy and environment in which an animal lives, in a naturalist vein, conferred upon these scenes a hyperrealistic character. And it is, without a doubt, this character which unites, which harmonizes the whole of this piece. Each sculpture is realized from the union of independent sculptures (animals, flowers…), that is to say, the union, the meeting, the dialogue which is created between contemporary materials (silicone, resin, Wepam…) and traditional ones (porcelain…). This mixture allows me to surpass, to bend traditional technical knowledge. I push to the extreme my know-how (sculpture, painting…), materials, and techniques.
My sculpture thus integrates, in its midst, this fragility of doing, which is pushed to its paroxysm, before its rupture. And it is this transience of the moment, when everything can topple, that I tend to make appear through scenes involving beauty and death. Here are the themes of my sculptures, because the fertile mold from which I draw my inspiration is nature. A sublime nature, but which can also be cruel, as death is never far. It prowls, it appears or hides in the decor. The flowers, plants… are not planted there simply to create an idyllic tableau. The decor is no mere decor; it plays a role in these theatrical stagings. It interferes with our eyes.
The scene or the story that plays out between animals, cannot be encompassed by a single glance. There isn’t only one point of view. The sculptures which I create require the spectator to move around them. The three-dimensional space of my works relates to the space of the observer. In order to understand my sculptures, it is not enough to see ; one must observe, contemplate. And it is within this symbiosis that communication between the piece and us is born and in which the place of the viewer is questioned. What is his role ? How does he interact with it ? Is he the receiver of an aesthetic emotion or is he its (poietic) creator ? All is thus possible, the future is a question of choice. Within my scenes, survival or death of one of the animals represented always remains random. It is up to us to create history. What interests me above all else is the moment, that of contemplation of natural beauty. A beauty that is all the more amazing as it tends to disappear, but which remains forever frozen in my work.
Finally, a few words regarding certificates of authenticity. In order to authenticate the work, it must be an integral part of the work, otherwise it remains external to it. Which is why, not only does it verbally define the work, but it also integrates the materials which make up the work.
