ALEI JOURNAL issue 03. 
extract from an interview by Daphne Mookherjee

“I am very exclusif in my work. I start with the envy of a technique that I decline to work on a serie. This serie can mark a fear, a nightmare, obsessions. Dinosaurs and birds are figures, archetypes that come back often. The bird represents the soul and the liberation. I show mythical fights between the animals. In a schematic way it’s also the human that is represented by the figure of the fighting bird, and the crocodile is what prevents him to go forward. Each drawing is a battlefield. Or a fight against myself, where I try to find a me- mory, or with the paper and the colors. It’s a spray (un jet) of emotions, screams, feelings back and forward. Nightmares and visions come and when I wake up in the morning I know that I have to make blue and red, in an unconscious way. I have to precise my feelings, sometimes they will become animal forms, because they remind all these figures that are primary archetypes. Horus for an example, he is the bird, god/falcon, the spoiled child (en- fant-roi), his particularity is that everyday he fights the evil and succeeds, which is the incarnation of the will in difficulty, the success in the struggle. Against him Sobek. I then mix these figures to cups and tables, that are my child memories. It is a lan- guage that I create but I do not want to control it, I try not to think of it to much, If I choose ABC, and symbols and hieroglyphs, if I make combinations, I think there will be control and control is not good for what I do. I want to do it quite automatically. I do not know why it is necessary (...) “







PORTRAIT issue 01.
extract from an interview by Nicolas Farade

When did you realize that this desire to create through drawing appeared?
In high school, when I was 15, 16 years old I had friends who already practiced drawing.

I do not have precise memories of our childhood about attending exhibitions, museums or such, do you?
Well, I’m not sure about that but if I have to keep a memory or a moment that was significant in my artistic awakening I would say 5th grade.

What happened there?
Well, we visited an exhibition held at the Beaubourg museum. I found myself face to face with a work of an Italian artist relating to the Futurist movement, I can’t remember his name though however, I remember being shocked by this painting. I set my- self apart from the group and stared at it for at least 5 minutes. The teacher came to me and asked me if I was ok. «I am good thanks but people are kissing each other, aren’t they? It’s something violent», I replied. She responded that I was correct and that I was the only one who understood what was going on in this painting. I also re- membered this artwork of a female artist whose bodies were dislocated. Her work resounded in me. I think that seeing those specific bodies of work determined my desire to do art.

And what about doing plastic art in school, did it ever motivate you? 
I am not sure, I guess it was unconscious, it felt more like a duty than a real motivation. Then, in high school things did not necessarily go well because it was not easy to express certain thoughts, I found in drawing a gate to escape from time to time, it replaces communication (...)