Artistic approach:





My work combines time a disillusioned vision of the state of the world and at the same the oneric resistance of the matter. I use the medium of ceramics,


fragile et precious, solid and renewable. This sculpture research evolves in a hybrrid universe inspired by the transformations wich our societies cross, by


their fundamental myths and futuristic images.. In a progression of imprints and mould making, successive experiments are juxtaposed. The organic and


structural mutations combine and connect to each other, until imaginary figures and recompositions appear.






”Invincibles” presents an army of sculptures of children of human size. These warrior children resemble artificial clones or small ancient gods. They evoke


characters coming out of the japanese mangas or science-fiction movies, but also and foremost the reality of war such as we can see in the media children of


Africa or the Middle-East carriers of weapons, criminal children, both victims and actors of violence. These children of all the “nations” incarnate an monstrous


and touching army that returns us to a starte of innocence and primitive imagery. The “Invincibles” give space to a large possibility of differente installations,


they can be exhibited face to face, alone or in small groups.






In parallel, drawings in watercolour and ink receal marvellous, vibrantly colourful and childlike worlds, sometimes cruel and monstruous. Photographs taken


from the media have inspired this work. Scenes of love, violence and war explode over abstract animated backgrounds.






My work has taken another direction in performance and video art. The performances of Colloque entre Plures et Una (dialogue between Plures and Una)


and Articulation took place in 1994 and in 1997. They were presented at the Stedelijk Museum of Amsterdam, at SUB-K Beeldende Kunst in Utrecht and at


the International film festival for ceramic (special mention, prize of the jury directed by Miquel Barcelo).




These performances evoke the normative time of a day of work. It consisted of the ingurgitating and regurgitating of a 230 kilo mass of fresh clay until the


physical collapse of my body and the emergence of a circular constellation on the ground, ressembling a landscape. Today, other performances connected


with the demultiplication of the body continue to be inscribed in my approach. The challenges and the forms that they evoke still remain as projects.





The Chupas, shows a collection of small-sized statues that have been shaped out of stoneware paste. The techniques I’m using most of the time consist


in applying to them at first white covers, then a low-temperature firing that fits the fine colours (iro.e and aka.e). This milky enamel with bright colours is


spilling in places, seeping and melting like fruity and bitter flavoured lollipops.


The Chupas, these young ghosts of today of which some have their hair waving like water when it’s flowing, suggest a mix of the decadent typical of the next


to last century’s ending imagery, and the Kawaii tendency.



Other little girls, made of rough matters, look like archaic goddesses with mixed features and attitudes come from colourful cultural worlds.



They’ll be put together on plinths, that’ll create closed and floating surroundings, as cut off from the world.