Trained in Fine Arts, he directed the visual creation of major houses for years before devoting himself entirely to a protean artistic practice—painting, sculpture, design, photography, and scenography. His pieces bring together heterogeneous aesthetics and joyfully shake up their distant classical models. He overturns codes like he turns his vases upside down, affecting their apparent classicism with a provocative disturbance.
Her unclassifiable universe draws freely from the repertoire of ancient painting and sculpture to better subvert its conventions. Both heirs to ancient art and fiercely dissident, her creations depict a baroque world populated by objects that exaggerate and overflow: pot-bellied vases teeming with decorative sketches, lamps with wild reliefs, swirling crucifixes.
The telescoping of references produces disconcerting cohabitations within his blended family of ceramics where we encounter, without hierarchy, Hermes, Louis XVI and the goddess Hera. Beauty constantly rubs shoulders with strangeness and facetiousness: his
grave Holofernes converted into a soup tureen, his majestic Henry IV emerging in
candlestick of the puff pastry of folds of its plethora of strawberry.
The treatment of color contributes to this flamboyant updating of an imaginary past: deep blues, acid greens and dizzying reds give an insolent luster to his timeless earthenware.
His works are part of private collections that are sensitive to this very personal contemporary reinterpretation of historical codes.
