The imprint is an empty space, an absence of distance, the point of contact between two universes. It materializes the instant when two worlds touch, the real world and that of our perceptions. It is the interface between the evanescence of life and its timelessness.

Initially inspired by the traditional gyotaku technique, I am interested in a raw direct print that reminds me of the fossils of my childhood in Algeria.

I adapt my technique to capture the finest details by printing the animal with acrylic on satin. The resulting image, like a fingerprint, faithfully reproduces its unique biological characteristics.

I am visiting another temporal dimension: by inventing the fossils of tomorrow, I am questioning our view of the creatures that surround us.

Like a naturalist's archives, I present this series between two glass plates.

A collection of 23 pieces is on permanent display at the Cité de l'Océan in Biarritz.

 

This work has led me to question biological beauty in a different way, to focus my attention on details.

To emphasize these particularities, I used a repetitive technique, printing isolated parts of the animal. In this way, the overall form of the subject disappears, and the details are multiplied to become motifs.

A game about cyclicity, which links time and life.

All that remains is a geometric image where the living remains mysteriously identifiable by everyone.

 

The specimens used come from small-scale traditional fisheries or are provided by environmental protection and conservation organizations. The turtle footprints are made in collaboration with the Kélonia care center, working with the remains of turtles that could not be saved.