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My project is grounded in a fundamental conviction: everything is in motion. Stillness is only a threshold, a fleeting appearance. Nothing is born complete; nothing remains secured. Caught in the continuous flow of the world, the point is not to master, but to welcome.
To acknowledge our powerlessness in the face of forces that carry us and escape us, to learn to read their rhythms, to adjust our balance. Then another relationship to reality begins to take shape: no longer resistance, but composition; no longer conquest, but play. To let oneself be traversed, to find the right line, and to glide with what is.
And so we suddenly find ourselves launching into the unknown as if we already knew, as if we had always known. Bodies surrender to movement: they carve paths into untouched snow, let themselves be carried by the breath of the wind, follow the unpredictable curve of the waves. It is no longer a matter of dominating the elements, but of entering into dialogue with them, accepting their share of uncertainty and inscribing one’s own gesture within it.
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Equilibrium
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, the gesture settles: drawing, then surfing. Two movements that echo one another, carried by the same quiet attention.
The board is meant to be simple, almost silent. The forms are pared down, the lines restrained, like a mind that clears as it moves through water. Nothing is demonstrative. Everything is balance. Surfing is no longer a pursuit of performance, but a state of presence, a discreet attunement to the rhythm of the place.
When placed in space, the board appears to float, suspended in the air. It evokes that fragile moment after a session, when the body is still permeated by movement, while the mind has grown calm. A moment of fertile emptiness, where inspiration circulates freely.
This work does not tell the story of a specific wave, nor of a fixed place. It captures a state: that of a clear, available, open mind. A gentle parenthesis, where gliding becomes an inner language.
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A-Wake in Tropez
A-Wake in Tropez is a work of the moment.
A suspended instant beneath the blazing sun of Saint-Tropez, when time fractures and everyday life quietly recedes. Everything wavers then—points of reference, rhythms, certainties. What remains is a luminous parenthesis: a summer lived close to the skin.
On the surface of the wakeboard, images collide and echo one another like fragments of a day too intense to be linear. A radiant morning, saturated with light and promise. A sea cut through at full speed. Then the rise of an electric evening, dressed in black and gold, where bodies cross, brush past one another, and already begin to disappear.
Here, everything is passage. Encounters are brief, experiences fleeting, identities in motion. One is “awake” as much as adrift, carried by the energy of the place, by its ostentatious elegance and unapologetic carelessness. 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 for sensory memory. It embodies a relationship to the world not rooted in anchoring, but in crossing through. A way of playing with the elements, with codes, with time itself.
A-Wake in Tropez is not a fixed memory, but a wake—the trace left behind by a summer too alive to last.
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Neig’eve
After awakening comes calm. What once burned cools. What once shimmered grows denser. The movement, however, persists. It slips from one surface to another, changes texture, alters its light, without ever breaking its momentum. The water has withdrawn; snow has taken its place.
In Neig’eve, fragments no longer tell a story—they suggest. Torn from the flow, they settle into a more restrained composition, as if slowed by the cold. The lines become fluid, almost breathing, tracing passages rather than boundaries. The tones darken, not to extinguish, but to deepen.
Where A-Wake in Tropez burst forth in the immediacy of the moment, Neig’eve unfolds over time. It captures that fragile instant when exuberance folds inward, when energy becomes interior, concentrated, ready to reinvent itself. This is no longer awakening, but watchfulness, the suspended state that precedes a new beginning.
On snow, as yesterday on water, the question remains one of balance: a body attuned to its surface, a gaze that follows the curve without seeking to dominate it. Neig’eve does not answer the previous work; it is its delayed echo, its cold resonance, the lingering trace of the same movement passing through the seasons.
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Prose provençale
This work is born from a fracture—not as a brutal rupture, but as a tipping point: that fragile moment when something calls to be reinvented. It speaks of a need for renewal, of inner repair, and of creation as a therapeutic gesture, almost vital.
It takes shape in the early morning, at dawn, during a walk through the Provençal landscape. The terrain is still silent, mineral, stripped bare. It is within this slow passage that the gesture emerges—spontaneous, instinctive. Creating then becomes a way of gathering fragments, of ordering what wavers, of transforming the fissure into rhythm.
The reliefs that run across the surface evoke both the roughness of the land and that of intimate experience. Nothing is smoothed away. Each element asserts its presence, like openly assumed scars. Matter becomes language; the support becomes a space of projection.
This work does not seek to explain, but to contain. It bears witness to a precise moment when creation is no longer an aesthetic choice, but a necessity, a way of standing upright, moving forward, and rebuilding oneself, step by step.
Who am I ?
My work develops at the intersection of two worlds that have accompanied me throughout my life: art and board sports. Two forms of expression that are intimately connected, which I see as complementary, and which nourish a shared reflection on movement, commitment, and balance.
Trained in graphic design, I first studied and then worked as a graphic designer for various companies. This professional experience shaped my way of seeing, refined my sense of composition and visual language, and placed my practice within creative frameworks defined by specific constraints. Over time, the need to explore a more personal, instinctive, and freer form of expression became evident, gradually leading me to focus on my own artistic projects.
My approach is grounded in the idea of a constant duality between contemplation and action, intuition and decision. For a long time, my creative process remained rooted in an intimate space, made up of graphic research, accumulated sketchbooks, and repeated gestures. This period of maturation now forms the foundation of a practice that is opening itself to view, fully embracing the transition from the intimate to the exhibited.
Drawing occupies a central place in my path. Present since childhood, it has established itself as a natural language, a tool for transformation and reflection. Each of my creations exists as a trace, a fragment of an ever-evolving journey in which process takes precedence over outcome. The work is not conceived as a fixed endpoint, but as the manifestation of an energy, a state, a moment.
At the same time, the practice of board sports has profoundly shaped my relationship to the body, space, and commitment. Whether on the sea, snow, or water, these disciplines establish a direct relationship with the environment, grounded in adaptation, balance, and anticipation. They have fostered an instinctive approach to movement, based on experience and sensation rather than theoretical control. This philosophy now runs through my entire artistic practice, inviting one to move beyond hesitation and fully enter into action.
Through works created on supports drawn from board sports (surfboards, snowboards, wakeboards) I explore transitional surfaces, designed for movement and transformation. The support becomes a narrative territory, an extension of body and mind, where graphic intuition and physical engagement meet.
My work thus questions our relationship to movement, time, and balance, offering a sensitive practice in which creation and action, art and gliding, become one.
