Through a system of representation drawing inspiration from sketches and classical painting, I stage contemporary subjects. My practice, centered on realistic drawing, gravitates around the relationships between humans and non-humans.
I question the place of living beings within our contemporary societies. The body-to-body encounter is a constant in my work, where I explore the narratives and behaviors, inherited and present, that we construct around animals.
I blend the codes of classical traditional representation with contemporary ones: horses enter into dialogue with a young urban generation, in tracksuits and sneakers, in the series Centaures ordinaires.
I work on large paper formats, scaled to the body, where line, light, and composition seek less for perfection than for tension, force, or the intensity of a gaze.
Charcoal and paper, fragile materials, play a central role in my practice. I see in this a symbolic extension of my themes: the dialectic between the fragility of living beings and the power of their existence.
I explore different forms of spatial deployment of drawing: pasting works in public space is a gesture of displacement, taking the drawing out of the studio to expose it to the world, to its uncertainties.
When a drawing is pasted in a chosen space, it becomes a living organism: it deteriorates, transforms, slips beyond my control. This ephemerality gives material form to the tension of the living.
The idea for a work often arises from a fact, an observation, or a question I perceive in current events. These subjects become series of drawings participating in a broader reflection on memory, disappearance, or the resilience of life.
Each work, each paste-up, each series is part of a continuum: an attempt to tell otherwise the bonds between humans and living beings, to open spaces of attention in a world in transformation.