INTRODUCTION

 

As a multidisciplinary sculptor, I believe that the creative process is a fundamental value of existence. Every gesture is an echo, a posture, a relationship. It is an exchange space where presence is understood between the being and the real. It is a perpetual fusion where, at times, apparitions illuminate, inspire, and transform us.

 

Taming the flash in my work means first engraving the moment of inspiration (through writing, drawing, or photography), and then refining the vision and sculpting. My main focus is the current object, which embodies a sophisticated representation of our species. Its symbolic power seems to hold a code.

 

The question requires a strict recreation of the subject that has appeared in the mind, a slow and natural recomposition of the genesis of forms and their attributes. Although the consciousness is at work, it does not possess the entirety of the process. However, sculpture, in a dedicated space and time, distinguishes the perceived from the being and delivers the magic emitted by the world.

 

My works are objects that have reached the pinnacle of their state. They are about to express a unity of purpose and exalt a paradoxical aspect of our time. They can take the form of taboo or invasive objects, as atypical symbols, ideally contemporary totems.

 

Existence is also the discovery of one's own conditions, the philosophy. My entire energy is devoted to a complete exploration where the soul is a part of the greater whole. It is a quest into the silent mores and collective movements where, I hope, the primacy of a universal perspective is unveiled.

 

History, here, transcends the realm of the mind, as it manifests itself through the agency of things upon the thing itself. It unfolds as a succession of revelations that constitute the chapters of a life, and his time intertwined with the present.

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FORMATION

 

It is in the Industrial Design studio at La Cambre Art School that I explore the world of objects. As a multidisciplinary artist, the discipline attracts me for its ability to combine the verbs to desire, to designate and to draw in the present tense. It reflects humanity, where we see virtues, love, philosophy and creativity in the face of the innocence of novelty and the threat of vice. Viewed as a whole, objects are the crystallization of collective imagination in reality. This raises a big question for me: Are the aspects of the material world witnesses to truths beyond our understanding?

 

In 2007, my final thesis was entitled "The Sacred Idea in Memory of the Totem." It is a small axiomatic manifesto that deals with the ambivalent nature of human beings, between psychic and motor skills, faced with the nature of ideas: are they free and autonomous or the product of human sensitivity and consciousness?

 

The work highlights the process by which thought synthesizes an idea and materializes it through gesture, transforming it into a specific object. Then, the way in which this object, by its mere presence, is reintegrated into the mind through our senses, and then rebounds into desire in our minds or into a new object in reality. This cycle reveals an evolutionary dynamic of our physical and cognitive space. The subject never leaves me.