Meanwhile sculpting, I first graduated mid 80’s in Political sciences in IEP Grenoble. Second graduation in Graphic art studies at the Sorbonne University in Paris in the 90’s. I’ve worked as traditional cartoon animator and a 3D computer animator until the end of 90’s. Sculptor and plastician all theses years. I opened my own sculpture workshop en 2003 and received students from all over the world to approach the art of volume.

Sculpture is, for me, the opportunity to explore the paradoxes of reality. Volume without volume, monumental work with no weight, the visual which escapes from our sight, disappearence, limits of visible

In that sense, my work addresses questions of virtuality or rather the passage to virtuality as a sensitive and emotional experience.

The wire portraits that I present are also paradoxes. They are sculptures nevertheless, they hardly show neither mass, nor weight or surface. Then how would they be defined ?

We can see them as sketches drawn in space… Somehow like Picasso with his lighting pen in Georges Clouzot’s movie.

I use wire like others use ink or graphite but I don’t have no material for support. I draw directly in 3 dimensions from a unique draft. The same line defines face and profile, the same one for all plans.

The heads I draw are empty. Their transparency causes the drawing lines to superimpose, provoking then, visual confusion.

I sometimes, inverse the volume laws logics. A portrait can be seen as in relief therefore in reality it is drawn reverse or negative. Just like molding.

I also disconnect the faces from the profiles of my pieces. The design recompose itself from a single and unique point of view, sometimes with an eye closed. Front, we see a face and from profile point of view, we see two other faces…

I therefore challenge our habits and our ways of volume perception.

“Die, your beautiful eyes, handsome Marchioness, love make me.”*

*Mister Jourdain’s line in “The Bourgeois Gentilhomme”, Moliere’s play.

I look at my sculptures as if they were sentences without syntax. Their shapes’ elements are interchangeable, same as the place of words. Like this, arbitrary alliances, wild configurations, chimeras inevitably occur within the language…  It is not a matter of questioning appearances but more like disrupting the logic of representations. That is what Mister Jourdain does with his lines in “The Bourgeois Gentilhomme”.

Just Like him, I favor incoherence to approach the chaos of thinking ; the mental state before words, before the figure, before creation.

Indefinity state” said Raymond Queneau.

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