Son of a bookseller, I was submerged in a world of images since my very early childhood. I discovered photography at the age of 15. My eye opened to the world through magazines like “Zoom”, one of the first photography magazines to offer highly aesthetic images whose prints were remarkable. It was basically through that magazine that my interest for photography was born.

My first studies were of Graphic Arts, followed by typography and diagramming and graphic and visual communication, before doing a History of Art class at the Ecole du Louvre. Following my experience as a graphic artist and a fifteen year collaboration with the French Ministry of Culture, my eye raised it awareness to colour and space, helping in maturing my passion. My look took a turn towards more human, social and cultural aspects. Slowly, over my multiple journeys, I build a photographic diary of men an its space.

My admiration for photographers like Henri Cartier-Bresson, with his rigorous framing and his “decisive moment”, Sebatiaõ Salgado for his respectful approach of human topics, black and white nudes of Jean-Loup Sieff and his wide angle takes, Jean-François Jonvelle with his intimate images unveiling the woman and the lover. Finally, poignant testimony of war images of James Natchwey. Each one of them offered me an example of discipline, savoir-faire and aesthetics that remain present in my work.

The plastic work I develop today -Photographism- results from a deep observation exercise over the city. Over my strolls, I photograph urban elements that I manipulate to obtain graphic shapes, geometric and kinetic images. Complex, quasi-abstract, compositions - views of an urban world with multiple faces open to multiple reading possibilities. This artistic process is lead by the choice in colours, the balanced distribution of structural masses in the frame with dynamic effects relaying on diagonals aiming to create a harmony.

Oniric images where cumulated strength and rhythmic lines, out of their context, become kaleidoscopic. Memory of a childhood toy offered by my grand-mother, it offered me the possibility of escape, to dream and to look at the world in a different way. This exercise is a very personal vision of infantine memories that invites the continuation of this omnipresent visual flânerie.