A brief history

At the beginning of the 90's, afters years of groping around, and many Indian Ink sketches, I came through with a vegetal leaves collage. I was seduced by the very aesthetics of this natural form of expression, and oriented by it toward art materials and symbols directly taken from the living world. As such prospects opened up, I came across many technical problems (as how to fix and preserve the living material, or the choice of natural colours). During a stay in the Atlas range, I discovered cork as an art material, as I did later with fossilised wood taken from the bottom of Canadian Shield lakes. At that time, the various techniques I had confronted to those materials led me to "counter-relief" and then to mural coloured volume constructions. In the mid 90's, taking advantage of autopsies and dissections linked to my other trade of vet, I was revealed the beauty of internal bodies. I thereby came across the idea of taking materials directly from vegetal and animal bodies and revive them into sculptures. After all, contemporary art is experimental in nature. As I was fascinated by such an approach and also by my refusing any model, I explored bone material, leather varieties, dried soft organs, muscles and ligaments, to which I added the various species of wood I already knew. Matter that would have a genetic heritage, a lifetime, a death in the image of man. This organic, and even alchemical creation process has allowed me to express myself through the very form of life, through reconstruction of it. I keep a deep conviction in such a scientific viewpoint that seems quite distant at first glance, but has opened my artist's eyes onto unexplored fields leading to amazing approaches.

My having worked in a microbiological laboratory and thus entered in contact with microscopic life-forms such as bacteria, viruses, body parasites has helped me rethink out my mural structures global form, through a more serious investigation of the microscopic universe, this time of living beings.

I must hereby digress somewhat. My preliminary sketches to these sculptures fast turned out to be art works in themselves, which led me to make out the symbols proper to Islamic, African, Chinese arts, but also to those of primordial art as well as of Amerindians, Pre-Columbian, Pacific, pre-historical peoples, and also to those of contemporary expressions such as graffiti. From this point it may be question of a mystical quest.