Adolescence obliges, everything displeases me,

lhumans, cats, school, my room, everything. I display a permanent bad mood. Yet, my life at that time is filled with successive discoveries: Ray Bradbury, Philip K. Dick, Hara Kiri, Fluide Glacial, Métal Hurlant, Best, Rock & Folk, philosophy, literature, and poetry offer me new joys and emotions.

The frenetic artistic period of teenage-hood, although forgettable, is brimming with activity.

At 20, a big dilemma presents itself :

abandon the communication degree – my thesis, “The Life of a Book: From Intellectual Work to the Promotion of an Object,” is written and validated – or find a job that brings me closer to the ultimate goal: drawing. I am willing to do anything, even cross-dress.

I attend a job interview: press officer. This long period in comics and journalism allows me to associate with cartoonists who had helped me through adolescence by believing in the future.

I don’t give up !

my fine arts studies and attend drawing and painting workshops. However, I’m too inexperienced or too shy to show my work at the time.

At 29, it’s time to launch my project : 

Karãboss, a love experiment, a polytechnic workshop combining wood, metal, fabric, ceramics, screen printing, and colors. The opportunity to approach master artists is a revelation: technique, gesture, creation, design are perfectly combined.

Trained by a wonderful master goldsmith, Robert Cherfils, I cut, solder, hammer, polish brass, and design and manufacture lamps and mirrors inspired by the worlds of Beauty and the Beast (Cocteau’s version) and Jules Verne. I draw less at this time because of blisters on my hands.

Currently,

merging digital drawing with traditional techniques occupies much of my time.

Returning to materiality, as proof. What is not shown, disseminated, confronted doesn’t really exist. The digital file comes to life on photo paper, canvas, cardboard. On object. On clothing.Haut du formulaire