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Each work is made up of tens or hundreds of pieces which are orchestrated around a homogenizing support: the circle, symbol of what has neither beginning nor end, the eternal, the perfect.

On this basis arises the double reading of the work.

The viewer himself is called upon and must play an active role in order to appreciate the work in its entirety. If he remains motionless, he will perceive only a global aspect of the work, whereas if he moves, walks around it and seeks an original point of view, he will discover the accumulation of small figures or objects which, well positioned in relation to each other, end up forming a constructed image.

A first superficial reading of the work takes us directly to a world of simplified images, that of Smileys.

These graphic emoticons are representative of our current society, which seeks instantaneity and immediacy. Communication was democratized by technological tools, the form of the message itself followed. But the ambivalence lies in the fact that these emoticons concentrate in them both the extreme simplification of the message and at the same time to whoever wants to feel it, an unsuspected wealth of emotions, feelings, innuendos, contained in this ultra-simplified container. However, a deeper reading allows you to discover the dozens or even hundreds of small characters who compose it. It is precisely in this double perception that the series acquires its meaning, because the work is born from this duality: individuality and mass.

This multiplicity of points of view also develops through the introduction of optical effects created on the plexiglass support, these circles which fit together in a play of colors trap our perception, distortions or illusions of movement seem to take place. , represent our emotions, our feelings which take on a thousand different tones, which can evolve very quickly, rise or fall in intensity and play tricks on us like optical illusions deceive our perception. Only the attentive spectator will be able to immerse themselves in an aesthetic and emotional experience facing the work.

Behind this entertaining and refreshing collection in the neo pop & Pop Art movement, the question arises of the place of each individual in our society who consciously or not participates in a collective work, that of our society which passes alternately from an image of Orde to a chaotic image, order emerging from chaos and the chaos of order, this swing from one to the other seeming vital for long-term equilibrium.

Big Bang II Egrégores from 2015

Big Bang II is an ode to the entire Universe, a cosmic poetry that speaks of our invisible links with it; Infinitely small and infinitely large come together in an interstellar dance where universal consciousness meets primordial energy.

In the form of abstract or symbolic compositions, these landscapes connecting infinitely large and infinitely small become in turn, galaxic horizons, crepuscular or mineralogical skies, deep seas. The textures come to enrich the chromatic while nuance to bring a density of matter which brings us back to the primordial natural elements. The hundreds of small figures that line these compositions form energy networks, egregores that animate the holographic material of space-time. Symbolically and as if he was stripping the leaves, hundreds of petals represent him in some works.

In addition to this, you need to know more about it.

In addition to this, you need to know more about it.

Like a stellar cluster or the impression of large nebulae in the southern sky, the variations of blue lights of Genesis Vesica Piscis sometimes plunge us into the confines of the Universe, sometimes into the mirrored waters of the seas. The deep blue like this first cell division brings us back to infinity, liquid or gas; to the origins, to the whole; this geometric perfection, by its simplicity and efficiency, seems to contain the scientific, aesthetic and mystical laws of the universe.

Sacred figure by the Pythagoreans; interpreted as the symbol of the fusion of opposites and as a representation of the apparent duality of the world (Ying and Yang), also noted as the geometry of the human eye, Vescica Piscis is also here the link between the infinitely large and the 'infinitely small, from cell division to universal consciousness.

Big Bang III Quantum world from 2015

ANTIQUE MEMORY, the three graces, chrome resins, gold silver and black silver, each 65cm high

Immortality of Phrynea, Installation, 200cm X150cm X 150cm (Phrynea: 108cm x 38cm x 20cm), silver chrome resin, fabric

In addition to this, you need to know more about it.

THE IMMORTALITY OF PHRYNÉE

Suspended in the void, as if in levitation, placed on a pedestal, it seems here adulated, idealized, promised to eternity; it becomes timeless and immortal;

yet in this almost Christ-like staging, with this immaculate white shroud, fallen to the ground, folded in a thousand corners by its fall, a moment of hesitation and unease crosses us. Because the landmarks and tracks are blurred and our consciousness balances between a spiritual and sacred impulse and, at the sight of this feminine body, all in curves and flesh, the sensation of the awakening of our senses which confronts us with the materiality of our desires.

This series is a tribute to an ancient art in a pop art version; a lightning journey through time, evoked, suggested, in its deliberate breaks, here, impeccably concealed under the chrome which covers the resin parts in a smooth layer. It is also a suggestion of the passing of time… and which never returns.

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The three Graces:

How to remain insensitive to the charm and the intrigue which emanates from the “3 graces”, magnificently treated by the Greek work of Nicolas Cordier of the 2nd century and which one can admire at the Louvre museum?

This theme will be revisited by a number of artists and, in particular, by Lucas Cranach the Elder then, in contemporary times, by Aristide Maillol. This scene full of mystery is found in the series "Luminous body" in the form of 3 chrome busts of 3 different colors, a modern way of taking up the Trinitarian dialogue.

"The three graces" sport three different colors to represent the tone of each woman, one more golden looking to seduce, the other more silvery, content to reflect the light it receives, the last in black chrome preferring the shadow to light. Is it really three women or the 3 faces of a single woman who would be successively, excessively seductive, the one who is content to lend herself to the game that is offered to her or the one preferring to withdraw into the position of the observer?

Nicolas Cordier had used this staging to better highlight the details of their anatomy. The dressed nude shows the nudity through a fabric that has slipped casually over the body.

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