S/DID

FIGURES HUMAINES

Artiste peintre et modeleur, j'explore la figure humaine sous ses formes les plus diverses. Du portrait à la créature imaginaire, mes peintures et sculptures interrogent notre identité, nos émotions et les parts plus secrètes qui nous habitent.
A series of elongated wooden blocks, each carved with a different abstract curvature suggesting a cheekbone, jawline, or brow ridge, stand vertically on a narrow black steel shelf against a deep charcoal wall. The wood grain is visible beneath thin layers of muted pigments—dusty blues, ochres, and pale flesh tones—applied in translucent washes. Narrow beams of late afternoon light enter from an unseen window, creating precise, parallel shadows that rhythmically repeat the vertical forms. Photographic realism, captured in a wide yet intimate composition following the rule of thirds, with crisp focus throughout. The atmosphere feels contemplative and museum-like, translating the human figure into a quiet architecture of forms and materials.

Visages, matières et formes

Explorations plastiques du visage humain, entre peinture, sculpture et fragments déstructurés de la figure.

On a dark, velvety tablecloth, a small porcelain cube is partially wrapped in a thin, translucent layer of poured wax sculpted into the vague contours of a face: a hint of brow, a hollow suggesting an eye socket, a soft protrusion where lips might be. Hairline air bubbles and subtle imperfections are visible within the wax. Around it lie scattered graphite sketches of geometric heads, slightly curled at the edges. A single warm spotlight from above creates intimate, theatrical lighting, with strong highlights on the wax and deep shadows beneath the cube. Photographic realism, captured from a close, slightly low angle, with a shallow depth of field to isolate this delicate intersection of geometry and fragile humanity.
A thick, square canvas leans against a textured studio wall, its painted surface an almost-relief of impasto strokes forming a barely discernible profile in three-quarter view. Pigments of ivory, umber, and muted crimson are layered so heavily that ridges cast tiny shadows, blurring the border between painting and sculpture. At the canvas’s base, smeared palette knives and dried paint skins rest on a paint-splattered concrete floor. Cool, overcast daylight filters from a large industrial window to the left, giving a soft, even illumination that heightens the tactile quality of the paint. Photographic realism, shot close-up with a slight angle, emphasizing material depth, sophistication, and the idea of the human face emerging from raw matter.
A fragmented clay bust with no facial features, only planes and fissures where eyes, mouth, and nose should be, emerges from a coarse linen-draped pedestal. The surface shows traces of fingers and sculpting tools, with raw terracotta, patches of white gesso, and subtle gold leaf accents catching the light. Set in a minimalist studio with a neutral grey wall and scattered dried clay dust on the floor. Soft side lighting from a high window creates deep, sculptural shadows and fine highlights along every crack. Photographic realism, shot at eye level with a shallow depth of field, emphasizes texture and materiality, evoking an introspective, sophisticated mood about the human figure through absence rather than presence.