Somewhere 2013 / 2012
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| Bullhead. Canvas, 140 x 140 cm. |
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| Going Up. Canvas, 162 x 130 cm. |
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| Contre-Soiree. Canvas, 200 x 300 cm. |
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| Dumoulin Memoires. |
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| Mario et Jakee. Canvas, 162 x 130 cm. |
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| Second Life. Canvas, 146 x 200 cm. |
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| Coyote. |
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| Somewhere. Canvas, 200 x 250 cm. |
Come and See 2012
Paintings based from the movie "COME AND SEE". ELEM KLIMOV / 1985
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| Come and See Nº 32. |
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| Come and See Nº 48. Canvas, 146 x 114 cm. |
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| Come and See Nº 52P. |
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| Come and See Nº 38. |
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| Come and See Nº 30P. |
Faces II 2013 / 2012 / 2011
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| AG2. |
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| JL. Canvas, 55 x 46 cm. |
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| BD3. Canvas, 92 x 73 cm. |
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| JG. Canvas, 50 x 65 cm. |
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| TM3. Canvas, 50 x 65 cm. |
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| VV3. Canvas, 50 x 61 cm. |
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| HP. Canvas, 50 x 61 cm. |
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| LR. Canvas, 116 x 89 cm. |
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| DLR2. Canvas, 50 x 65 cm. |
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| NM. Linen, 48 x 35 cm. |
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| DLR. Canvas, 81 x 65 cm. |
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| GT. Canvas, 92 x 73 cm. |
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| BD2. Canvas, 92 x 73 cm. |
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| LT. Acrylic, 92 x 73 cm. |
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| BD. Acrylic on canvas, 92 x 73 cm. |
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| TM2. Acrylic, 50 x 50 cm. |
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| YG. Acrylic, 92 x 73 cm. |
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| RT3. Acrylic on canvas, 92 x 73 cm. |
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| FM. Acrylic, 116 x 89 cm. |
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| RT. Acrylic on linen, 116 x 89 cm. |
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| VV. Acrylic on linen, 116 x 89 cm. |
Corpus 2013 / 2012 / 2011
Le corps, du latin « corpus », désigne la partie matérielle d’un être animé, doté de mouvements, assurant les fonctions nécessaires à la vie, ce qui le distingue, ipso facto, de l’âme ou de l’esprit. Il signifie également la chair ou le cadavre.
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| RT4. Canvas, 195 x 130 cm. |
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| Corpus 10. Canvas, 160 x 114 cm. |
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| Corpus 9. Canvas, 200 x 250 cm. |
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| Corpus 8. |
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| Corpus 7. |
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| Corpus 6. Canvas, 130 x 97 cm. |
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| Corpus 5. Wood, 60 x 80 cm. |
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| Corpus 4. Linen, 100 x 100 cm. |
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| Corpus 1. Linen, 130 x 97 cm. |
Adopte Un Mec
What about the image we give of ourselves online ? This series examines the ability to hide whilst making believe that we reveal ourselves. I took the example of a dating site and noticed that some members have photos of themselves surrounded by friends or family whose faces are blotted out with white oval masks.
According to the website's rules, you are only allowed to show one person in your picture which is intended to attract your prince charming or your one night stand. I wondered why they hadn't simply taken a photo of themselves alone? Why would someone use a photo where they had to blot out a family member or a friend ? The reason clearly isn't resentment but the desire to show, at any cost, this random photo that makes them feel good-looking.
The need to please on these dating sites enabled me to find compelling images that I wanted to recreate in my painting.
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| Adopte Trois. Canvas, 130 x 97 cm. |
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| Adopte Deux. Linen, 100 x 100 cm. |
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| Adopte Un. |
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| Adopte Zero. |
Drawing
Random 2012 / 2011
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| Inv. On paper, 53 x 73 cm. |
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| MDR. On paper, 50 x 65 cm. |
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| AG. On paper, 50 x 65 cm. |
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| Jeff. On paper, 30 x 30 cm. |
Paper Faces 2011
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| 13h31. Acrylic / pastel, 70 x 70 cm. |
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| 19h36. Acrylic, 70 x 70 cm. |
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| 12h47. Acrylic / pastel, 70 x 70 cm. |
Autoportrait 2012 / 2011
De l'autoportrait à l'autre portrait.
"Le propre d'une face, c'est bien sûr de se tenir en face de nous. C'est, aussi, de faire du face-à-face une relation de regard. Point n'est besoin de voir distinctement un faciès, une physionomie, des traits, pour qu'une face nous regarde, pour que sa distance nous affecte et nous touche. Il suffit pour cela que nous prêtions à ce qui nous fait face le pouvoir de nous rendre un regard, le pouvoir de lever les yeux sur nous."
Extrait de "La ressemblance par contact" de Georges DIDI-HUBERMAN
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| 1: Acrylic / fusain, 35 x 45 cm. |
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| 2: Laque / fusain, 35 x 45 cm. |
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| 8: Acrylic, 35 x 45 cm. |
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| 11: Acrylic / fusain, 35 x 45 cm. |
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| 14: Mixed media on paper A3. |
I live and work in Paris. I'm a 28 year old painter and I come from the graffiti. To captivate the eye by transforming the clear into a blur and the fixed into a movement is an active ingredient in my research. I paint in a very instinctive way, following the example of the expressionists who fascinate me. Through the colours, brush strokes, composition, background and rhythm of the painting, I attempt to create works which truly represent bodies in a space without distortion. Without having a clear idea of the final result, I stop my work before it seems finished. The moment where little is enough to suggest the stucture interests me, leaving the spectator's imagination open at the moment the scene is starting to appear. Knowing when to stop before saying too much is what I tried to do.
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