Through this series I go beyond my pictorial and photographic works by using the imprint
as an interface between the evanescence of life and its timelessness. The imprint is an empty space, a
The absence of distance, the point of contact between two universes. It materializes the moment when two worlds meet
touch, interact.
Initially inspired by traditional printmaking and gyotaku techniques, I am interested in a
A raw, direct imprint that reminds me of the fossils of my childhood. I delve into the meaning of the trace.
left by the creatures.
My technique has evolved to finally capture the finest details by printing the animal in acrylic.
on satin. The resulting spectrum, like a fingerprint, faithfully reproduces its uniqueness.
biological. Freed from the influence of gesture and my subjectivity, it is the plasticity of the specimen that
is placed on the level of a work of art.
I am exploring another temporal dimension: by inventing the fossils of tomorrow, I am questioning our
a look at the creatures around us, our relationship to the transformation of ecosystems.
Like a naturalist's archives, the satin pieces are presented in the first exhibitions
between two sheets of glass.
A collection of 23 pieces is on permanent display at the Cité de l'Océan in Biarritz.
Observing these first imprints led me to question the biological beauty of
specimens and to focus my attention on the details. To emphasize the particularities of each one,
I worked on repeating imprints. In this way, the overall form of the subject disappears, taking with it
(our subjective projections)
All that remains is a geometric image where life, however, can still be identified.
In the exhibition "Infinitely," I invite you to follow this work of research and questioning.
aesthetics. Some formal works show faithful imprints of the studied specimens, others
present the research work on detail and repetitions.
Permanent exhibition at the Cité de l'Océan in Biarritz since 2022.