” I paint a plant and animal world, often with aquatic elements like a pond, waterfall or underwater world. These elements swarm over a highly textured surface where the material is highlighted. I paint hidden natures, faraway, untouched lands that don't appear on any map. I don't want my paintings to reflect our everyday lives. So I don't paint man or his constructions. Nature has a life of its own, constantly evolving autonomously alongside the human world. Immersing yourself in its world is like studying something else, something higher. It's a break, a rest, a refuge from our life in society. The places I paint are fantasies, hopes of an earthly paradise where everything would be fine, far from people.

I try all sorts of experiments, pouring in huge quantities of different materials like cement or plaster, then mixing, triturating, burning, tearing off and drowning the paint. For me, cement is synonymous with death. Where it stands, nature has been eradicated and it prevents vegetation from growing back. The same is true when I paint on burnt and melted plastic surfaces. Plastic and acrylic paint come from oil, which is biomass several million years old, the remains of previous forms of life, and which is now tending to destroy our world. Enmeshed in paint and plant and animal forms, this material, which comes from yesterday's life and gives rise to today's death, will once again be alive and organic. This is how I create my ecosystems, apparently chaotic but ultimately balanced through the composition of the image. In the same painting, I alternate impulsive phases with concerted, figurative ones, sometimes for months or even years. The different ways of painting blend together and feed off each other. We can see elements painted in a fraction of a second, in a violent and spontaneous way, alongside elements painted with a brush, in a longer time, with precision and delicacy.

butterfly lands on a piece of scrapings or a clump of paint, it will look like vegetation. Conversely, abstract elements transmit to figurative elements the retinal sensations they provoke in the viewer. This is due to the strength of the gesture they convey, their colours, shapes and strange materiality. Some of the creatures are hidden, partially depicted, and can only be seen after more or less prolonged observation. This adds mystery to the painting. They are hints of images, forms that may or may not be, depending on the viewer's state of mind. My painting oscillates between the pleasure of manipulating materials and the pleasure of reproducing figures. I'm looking for a certain beauty, the beauty of tension and discordance, the beauty of acrylic paint, a plastic that has become an organic substance.”