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In this series, the medium Painting is considered as a character in its own right, a living being endowed with consciousness that takes possession of an element of the image (space, subject, anatomical fragment, object or animal).

The choice of a black and white grisaille painting refers directly to the documents which are the source of these scenes and which belong mainly to the history of cinema and documentary images.

By respecting the uncolored nature of the diverted images, I discovered with surprise that this lack of color creates a dreamlike aspect that pushes the viewer to imagine the scene rather than see it.

These paintings give at the same time a familiar impression because they are iconic images recognized by all but at the same time produce an impression of strangeness: the paint that has become alive in the canvas acts like a virus and threatens to invade everything.