Biography

Born in Geneva, Switzerland, I grew up surrounded by the natural beauty and cultural richness of my homeland. Creativity was valued in my family, and it was my late
grandfather, a craftsperson & artist, whose influence planted the seed for what would eventually become my life's passion.
In 1993, I began painting privately, experimenting with countless acrylics in A4 and then A3 notebooks -I have always felt that big pictures come straight at you, domineering and intimidating, while small works can inspire much more love. I was first drawn to non-figurative painting and abstract expressionism. Over time, and while I consider myself an atheist, I also developed a fondness for spiritual materials as they resonated with my exploration of human existence and the deeper truths of nature and life.
However, the path to truly becoming an artist wasn’t immediate.
For over three decades, I pursued an international business career that took me across the globe, from the United States to Morocco, Belgium, across Asia and France. My travels broadened my perspective, exposing me to a wide range of cultural influences. Wherever I went, I immersed myself in the local art scenes and engaged with the creative energy of each place.
Despite the focus on my business career, art was always a part of me, quietly simmering beneath the surface. For nearly 30 years, painting became a form of secret meditation for me—a way to break free from the world and focus on my inner self.
I have always found immense satisfaction in painting. Each new work is a journey where I can test my creativity, explore new techniques, and live through genuine experiences. Through my art, I have always hoped to offer others a sincere encounter with beauty, an opportunity to see the world from a different perspective and reflect on their own lives.
In 2023, after retiring from my business career, I fully committed to painting. I established my studio in Paris and began devoting myself entirely to my art. By the end of 2024, I launched my public artistic career, and, to my surprise, my
work quickly gained recognition, finding homes in private collections all over Europe, especially in Germany, Portugal, Belgium, Italy and the Netherlands.

At the end of 2025, I moved to a bigger studio in an vacant sacristy in Lisieux, Normandy.

Artistic CV

My first solo exhibition, "Échos," held in Paris at the end of 2024, showcased a distinctive approach to art, away from traditional painting
techniques: I paint with acrylics, metallic pigments, and sprays on the back of recycled extruded plexiglass (Perpex), a light, smooth, glossy and sometimes fragile surface.
This process prevents me from seeing the work as it develops. I have no visual feedback or control during the process—something I welcome. I allow “random experiments” -anything goes to short-circuit reason! - to guide the outcome, the layers & mirror effects I create, and leave room for revelation and discovery when the piece is finally exposed. But let’s be clear: in my pictures chance never takes the decisions; at most, chance asks the questions; meaningful “coincidences” are only possible with a great deal of discipline.
This approach that echoes with the revelation / fixation process of photography is challenging and liberating. The values of the composition are enriched by layers and transparencies yet giving each work an “ascetic” quality: I am happy when I recognize “irreducible necessities”, i.e. what we are likely to discover when we stop in silence and light.
I keep my approach deliberately simple. Neither “emotion” nor “theoretical conception” but experience of being. Neither “rapid consumption” nor “intellectualization / intellectual possession”, but broadening of consciousness and exploration of reality, of its visible and invisible stories, my art is a quest for “life at the very heart of life”, for what Alain Damasio calls “le vif”. Although nostalgia has always being part of my work, my paintings are without object. But like all objects, they are objects of themselves. Consequently, they have neither content, nor meaning, nor sense; they are like things, trees, animals, men, or days, which also have neither reason for being, nor end, nor purpose.
While my work might sometimes evoke the transparency and luminosity of stained glass,
it remains almost entirely abstract. Moreover, plexiglass provides the painting with a shimmering skin where one can glimpse one's own silhouette, different to each new viewer. Each work acts like a discreet mirror: it lives, it changes, it sees.
The interplay of light, colour, and texture, of the missing parts also, only requires empathy. Hopefully, the play between “details for the close” -a detail of a picture is a completely new picture- & “distance for the whole”, will encourage viewers to embark on their own introspective journeys.


I don't claim to have all the answers and want to remain humble about what can be achieved. Simply, I find satisfaction in the continuous process of questioning and growth. Each new creation is a confrontation with my limits, pushing me to refine my skills and explore further what I can accomplish. Painting to me is a
daily craft, an exploration, a way to spark meaningful conversations, a quest for a paint so perfect it has no need of us. The age of the informal has only just begun.
As Jean Bazaine would say: "The daily practice multiplies the passion for seeing."

The Coherent Paradox: my Philosophy and Practice

In contemporary art, where a strong concept is as valuable as the visual object it produces, my work stands out not merely for its ethereal luminosity, but for the philosophical coherence that generates it. To encounter my painting—a shimmering field of colour and light trapped within acrylic sheets—is to meet the endpoint of a rigorously controlled artistic inquiry. The true subject is less the image than the interlocking system of thought and method that makes the image possible.
My artistic identity is built upon three foundational pillars.
First is a decisive Rejection of Conventional Meaning. My assertion that my works are “without object” and possess “neither content, nor meaning, nor sense” is a liberating manoeuvre. It disarms the search for narrative or symbol, clearing a space for something more direct.
This leads to the second pillar: the Primacy of Phenomenological Experience. Into this cleared space, I insert what I call the “experience of being.” The artwork becomes less a thing to be decoded than an event to be perceived—an encounter defined by changing light, translucent layers, and, crucially, the faint reflection of the viewer caught in the plexiglass. The work lives, it changes, it sees.
The third pillar is where theory becomes tangible: The Method as Metaphor. My signature technique of painting on the reverse of plexiglass, working blind without visual feedback, is the physical enactment of my philosophy. It is a deliberate renunciation of authorial control in the moment of creation. I establish the conditions but surrender the final visual outcome, allowing the painting to become an independent “object of itself,” revealed only when complete. This process mirrors the photographic development of a latent image, embodying the very revelation it seeks to host, “here and now”.
The intellectual elegance of this position, however, lies in the series of sophisticated paradoxes that energise these pillars. These are not contradictions, but dynamic tensions that fuel his practice:
Chance vs. Discipline: I speak of “meaningful ‘coincidences’,” but insist they are “only possible with a great deal of discipline.” This is not a surrender to chaos, but the construction of a precise system—a set of material and procedural rules—designed to court the unforeseen. Chance is the invited guest, but I build the house.
Communication vs. Meaninglessness: I aim to communicate something, yet I create works I describe as meaningless. The coherence emerges when we understand “communicate” not as transmitting a fixed message, but as sharing an existential state—a texture of nostalgia, a quality of light, the palpable presence of doubt.
Nostalgia vs. Presence: Nostalgia permeates my work, yet it is a nostalgia curiously directed at the present moment. It is a longing for the “irreducible necessities” one can perceive in “silence and light”—a nostalgia for pure, unmediated presence, which is precisely what my phenomenological objects offer.
Action vs. Inaction: The process demands intense action and discipline, yet the goal is a result that feels autonomous, as if it “emerged of its own accord.” The artist’s labour is dedicated to creating something that appears effortless, a paint so perfect it has no need of us.
This cohesive framework allows me to make a compelling claim: “The age of the informal has only just begun.” I position my practice as a
contemporary evolution of the Art Informel spirit, replacing its existential angst with a calmer, more systematic discipline. Mine is a renewed informality—one where chance is not an emotional outburst but a carefully managed collaborator.
Central to this is the concept of “le vif” (the quick, the living core). In seeking this, My work opposes intellectualisation in favour of direct, vital experience. The small scale I often prefer supports this, fostering an intimate, introspective viewing rather than a domineering spectacle.
Ultimately, I would like to present a case study in coherent artistic identity. My biography, my technique, and my philosophical statements are not separate facets, but threads woven into a single, resonant tapestry. I would like to demonstrate that a practice rooted in paradox need not be cryptic or unstable. On the contrary, through disciplined simplicity and conceptual clarity, such paradoxes can become the most solid and generative foundation an artist can possess.