The figure of the woman (sometimes that of the child) remains the cornerstone of my work of destructuring. At leisure, I break it up, I fragment it to shatter it into an explosion of colors or black and white. Often, the corporeal dimension merges with the material dimension where the
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The figure of the woman (sometimes that of the child) remains the cornerstone of my work of destructuring. At leisure, I break it up, I fragment it to shatter it into an explosion of colors or black and white. Often, the corporeal dimension merges with the material dimension where the flesh and the object no longer oppose each other but complement each other, marry each other, harmonize to finally form a single entity. My favorite object undoubtedly remains the Eiffel Tower (which I also like to call my Lady Eiffel Tower), always naked, without artifice, for which, in the manner of Robert Delaunay, I have given “multiple forms of my love.