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My project is grounded in a fundamental belief: everything is in motion. Stillness is only a threshold, a passing appearance. Nothing is born complete, nothing remains fixed.
Carried by the continuous flow of the world, the point is not to control, but to receive. To acknowledge our powerlessness before the forces that carry us and escape us, to learn to read their rhythms and adjust our balance. From this emerges a different relationship to reality: no longer resistance, but composition; no longer conquest, but play. To let oneself be crossed by movement, to find the right line, to glide with what is.
We then move toward the unknown as if we already knew, as if we had always known. From country to country, from mountains to oceans, I create designs in rhythm with the roads traveled and the people encountered. In improvised studios, on a beach or at the foot of a snowy pass, forms arise from landscapes, observed gestures, and shared stories. Each place leaves its imprint. My creations become witnesses to these journeys, living surfaces where discovery, culture, and encounter are inscribed.
Slide into my world, and explore life as a boundless creative terrain.
Indonesia
Flux sacré
This work was born from a July afternoon in Bali, in the slowness of a time that does not seek to be filled. Between two waves, I pause and create: drawing, then surfing. Two movements that echo one another, carried by the same quiet attention, a form of meditation in action.
The board is meant to be simple, almost silent.The shapes are refined, the lines restrained. Gliding is no longer a pursuit of performance, but an offering to movement, a subtle harmony with the breath of the place.
When placed in context, the board appears to float, suspended in the air, like moments of prayer when time expands. It evokes that fragile instant after a session, when the body is still crossed by the energy of the wave while the mind has settled, clear, open, and present, a state sought in Balinese practices of centering and gratitude.
This work does not tell the story of a specific wave or a fixed location.
It captures a sacred state of movement: an inner space where momentum becomes calm, where action turns into presence, and where inspiration flows freely, like a breath between human, water, and the unseen.
Flux sacré
This work was born from a July afternoon in Bali, in the slowness of a time that does not seek to be filled. Between two waves, I pause and create: drawing, then surfing. Two movements that echo one another, carried by the same quiet attention, a form of meditation in action.
The board is meant to be simple, almost silent.The shapes are refined, the lines restrained. Gliding is no longer a pursuit of performance, but an offering to movement, a subtle harmony with the breath of the place.
When placed in context, the board appears to float, suspended in the air, like moments of prayer when time expands. It evokes that fragile instant after a session, when the body is still crossed by the energy of the wave while the mind has settled, clear, open, and present, a state sought in Balinese practices of centering and gratitude.
This work does not tell the story of a specific wave or a fixed location.
It captures a sacred state of movement: an inner space where momentum becomes calm, where action turns into presence, and where inspiration flows freely, like a breath between human, water, and the unseen.
Indonesia
Flux sacré
This work was born from a July afternoon in Bali, in the slowness of a time that does not seek to be filled. Between two waves, I pause and create: drawing, then surfing. Two movements that echo one another, carried by the same quiet attention, a form of meditation in action.
The board is meant to be simple, almost silent.The shapes are refined, the lines restrained. Gliding is no longer a pursuit of performance, but an offering to movement, a subtle harmony with the breath of the place.
When placed in context, the board appears to float, suspended in the air, like moments of prayer when time expands. It evokes that fragile instant after a session, when the body is still crossed by the energy of the wave while the mind has settled, clear, open, and present, a state sought in Balinese practices of centering and gratitude.
This work does not tell the story of a specific wave or a fixed location.
It captures a sacred state of movement: an inner space where momentum becomes calm, where action turns into presence, and where inspiration flows freely, like a breath between human, water, and the unseen.
France
Espres'snow
This work is born just before the surge.
In the instant when energy rises, when cold air awakens the body, when the first movement slices through the silence of untouched snow.
Espres’snow captures this contained tension, that inner vibration that precedes speed.
Like a burning sip of espresso in winter, it concentrates warmth, intensity, and precision into a single pulse. The contrasts are sharp and deep: dense blacks, rich browns, copper reflections, midnight blues.
Each mark seems to tremble, ready to launch forward, like a line cutting through fresh powder.
This work speaks of the decisive moment, when calm tips into motion, when stillness becomes propulsion.
A short, vivid, electric breath. Espres’snow is energy in its pure state, held just before release, a clear imprint left in the cold, precise, intense, alive.
Cappucci'snow
This work is born in the moment that follows the surge.
When breath slows, the body unwinds, and the silence of snow once again wraps the space.
Cappucci’snow captures this suspended instant, when warmth gently returns to the hands, when the steam from a cup mingles with cold air, tracing a visible breath in winter.Movement softens. Time stretches. Forms grow gentler, textures melt into one another, like the light foam of a cappuccino settling onto an untouched white surface.
Creamy, golden, and softly brown hues warm the immaculate snow, creating a dialogue between softness and cold, between shelter and vastness.
This work evokes the return to calm after intensity, the luminous retreat after speed.
A fragile cocoon at the heart of the mountains, where the body finds warmth again and the mind rediscovers slowness.
Cappucci’snow is a pause of softness within the flow of movement, a long, slow, soothing breath.
Neig'eve
This work emerges from a winter lived in the intensity of Megève, where days stretch within the demanding rhythm of a five-star hotel, and nights open like boundless parentheses.
A dense, charged time, crossed by effort, encounters, and momentum. Across the surface of the snowboard settle the fragments of this season, not as an ordered narrative, but as a memory in motion.
Elegant silhouettes appear and fade, the gestures of service repeat until they become almost mechanical, before the body escapes toward the slope, drawn by speed and cold air. Gliding becomes breath. Runs with friends trace invisible lines through the winter, while nights overflow, luminous and blurred, until daylight returns without warning.
Images overlap, rub against one another, collide, like hours stacking without real pause. Everything is flow: work, celebration, fatigue, euphoria, movement. The board becomes a sensitive territory where discipline and abandon coexist, luxury and exhaustion, daily rigor and youthful vitality. Each fragment carries the trace of a moment fully lived, without restraint.
This work does not freeze a memory.It captures a season in its most vibrant and unstable form, that moment when life is crossed at full speed, driven by the desire to feel everything.
Megève appears not as a setting, but as a passage: a winter suspended between demand and freedom, where the body glides, works, celebrates, and begins again, until the season fades, leaving only movement turned into image.
A-Wake in Tropez
A-Wake in Tropez is a work of the moment.
A suspended instant beneath the burning sun of Saint-Tropez, when time fractures and everyday life quietly withdraws. Everything wavers then, bearings, rhythms, certainties, leaving only a luminous parenthesis: a summer lived at full intensity.
Across the surface of the wakeboard, images collide and echo like fragments of a day too intense to unfold linearly. A radiant morning saturated with light and promise. A sea crossed at full speed. Then the rise of an electric evening, dressed in black and gold, where bodies meet, brush past one another, and already disappear.
Here, everything is passage.
Encounters are brief, experiences fleeting, identities in motion. One is “awake” as much as drifting, carried by the energy of the place, by its ostentatious elegance and unapologetic carefreeness. Saint-Tropez becomes a state of mind, a glide between day and night, between the visible and fantasy.
The wakeboard, an object of speed and tension, becomes a vessel of sensitive memory.
It embodies a way of being in the world not rooted, but in transit, playing with the elements, with social codes, and with time itself.
A-Wake in Tropez is not a fixed memory, but a wake, the trace left by a summer too alive to last.
Origine
This work is born from a brutal fall. A moment of rupture, when body and mind give way. The impact, the silence that follows, and that sensation of emptiness where nothing holds anymore.
From this collapse emerges, against all expectation, an invisible, almost mystical, force that urges recreation, repair, and the transformation of pain into movement. Creation appears as an immediate response to the fall: a first breath after impact, an instinctive attempt to rise again through action.
It takes shape in the early morning, at dawn, during a walk across the Provençal land. The landscape is bare, mineral, still asleep. In this slow crossing after the storm, the gesture becomes both an instinctive response to the fall and the founding act of a new path. Creating turns into a vital necessity, a way of gathering the fragments, restoring coherence to what was broken, and giving birth to new momentum where everything had seemed to stop.
The textures running across the surface carry the trace of the shock as much as that of the ground. Nothing is erased, nothing softened. Each roughness bears witness to the fracture and to resistance alike. Matter becomes memory; the support becomes a site of reconstruction, already a territory of creation. This work does not seek to explain the fall, it preserves its imprint. It embodies the precise moment when creation ceases to be a choice and becomes a force of healing, then a path.
From the violence of the impact is born not only an artwork, but the very origin of my life’s project.
Who am I?
My project is rooted in movement. Traveling is not merely a passage from one place to another, but a way of inhabiting the world, experiencing its rhythms, textures, and tensions. Each territory crossed transforms the gaze, the body, and the gesture. It is within this continuous motion that my work takes shape, at the intersection of art and board sports.
Trained in graphic design, I first developed my visual language within structured professional settings, where composition, constraint, and clarity were central. Over time, through roads traveled, landscapes encountered, and people met, the need for a more instinctive form of creation, more responsive to context, emerged. Travel became a space of research in itself: a moving studio.
Drawing remains at the heart of my practice. Present since childhood, sketchbooks, studies, and visual explorations accompany every journey, nourished by the textures of places, the lines of landscapes, and shifting light.
This intimate work now extends onto surfaces made for movement, where the image leaves the page and enters space.
At the same time, board sports have shaped my relationship to the world as a practice of embodied movement. Gliding over snow or water requires a heightened awareness of the environment and a constant adaptation to the elements. This direct relationship with the landscape taught me to work with unpredictability, to place the body within natural flows rather than attempt to control them.
It is within this continuity that my current project of creating board coverings around the world takes shape. Each board becomes a surface of travel, marked by the places, cultures, and sensations that gave birth to it. The support is no longer merely functional; it becomes a narrative territory, a mobile memory, an extension of movement itself.
My work thus explores travel as a physical, sensory, and creative experience, where art and motion converge to express the world in flux. Between roads, oceans, and mountains, each creation stands as a living trace, a fragment of a journey, an invitation to inhabit movement rather than freeze it.
