**_Le corps devient un lieu de suspension, pris entre l’effondrement et la persistance, où la douleur ne crie plus mais demeure_**

Purgatoire

**Genèse sphérique dévoile le surgissement d’une conscience cosmique, où un visage en gestation contemple l’explosion lumineuse d’un monde en train de naître au cœur d’un chaos incandescent**

Genèse sphérique

**_Fin de soirée capte l’instant suspendu où les corps, encore vibrants d’élan et de désir, se figent dans une fatigue sensuelle, entre abandon, solitude et mémoire des gestes partagés_**

Fin de soiröe

**_L’Homme au masque révèle un corps doré offert à la lumière tandis que son visage figé dissimule une intériorité silencieuse, suspendue entre présence charnelle et retrait du monde_**

L'Homme au Masque

**Bird Petroleum**  
Oil and vine wood on panel  
34.5 × 84 cm (unframed)

A bird caught in black matter.  
Oil clings, suffocates, immobilizes.  
This is not an image — it is a trace.  
Nature still bears the weight of our choices.

Bird Petroleum

Duo Corpus – Ballet des Vignes

The Grand Jeté

The 32 Fouettés

This diptych explores movement through organic matter.

In The Grand Jeté and The 32 Fouettés, uprooted vine roots become suspended bodies in motion. Removed from the soil, these natural fragments are transformed into dancers — twisted, extended, caught between gravity and elevation.

The swirling backgrounds evoke the energy of classical ballet, subtly referencing Swan Lake, yet the figures remain raw, sculptural, almost archaic. The vine, once rooted in the earth, now performs in space — tension replacing weight, gesture replacing growth.

Duo Corpus reflects on transformation:

from plant to body, from earth to stage, from stillness to movement.

It is not a literal depiction of dance, but a translation of rhythm, torque, and suspension through matter.

Duo Corpus - Le Lac

This work explores a suspended state of the body, caught between withdrawal and persistence. The figure is neither active nor absent; it remains in a state of watchful stillness, folded inward, held within an inner threshold. Organic, almost chthonic forms coil and contract, evoking dense flesh marked by muted tension. The layered, textured surface suggests a body that has become an interior landscape, where anatomical references dissolve in favor of a more archaic presence. The restrained, earthy palette reinforces a sense of silent waiting, as if the flesh were carrying a latent memory, poised on the verge of reawakening.

Chair en veille

This painting explores collective pressure exerted on the body and the gradual disappearance of individuality in favor of a compact, unified entity. Three figures merge into a dense mass, stripped of facial features and identity, standing not through solidarity but through constraint. The thick, dark, almost wounded material becomes a site of tension where the body carries a psychological state rather than a narrative. The deliberately restrained use of light reinforces an inward, silent reading, suggesting an unspoken agreement between the figures born of necessity rather than choice.

Cohorte

**Les Âmes Perdues** is an acrylic painting created during the 2024–2025 period, a phase in which the artist explored immediacy, fragmentation, and expressive urgency before returning to oil painting with the _Noctis Corpus_ series. This body of acrylic works is marked by rapid execution and direct gesture, allowing figures to emerge and dissolve without fixation.

The composition presents a multiplicity of distorted, unstable bodies suspended within an undefined space. These figures are neither individualized nor narratively situated; they appear as transient presences, caught between movement and collapse. The turquoise ground acts as a neutral yet unsettling field, against which flesh-like tones, abrasions, and violent gestures collide.

Rather than depicting identifiable subjects, _Les Âmes Perdues_ evokes a collective state of disorientation and loss. The bodies seem stripped of anchoring, reduced to traces and impulses, suggesting an existential condition rather than a scene. This work embodies a moment of transition in the artist’s practice, bridging raw expressive force and the darker, more condensed materiality later developed in _Noctis Corpus_.

Les Âmes Perdues

**Crucifixion du Chaos** is an acrylic painting created during the transitional period of 2024–2025, prior to the artist’s return to oil painting with the _Noctis Corpus_ series. This body of acrylic works marks a phase of urgency and direct gesture, where speed of execution and raw expression take precedence over the slow stratification characteristic of the later oil works.

The painting revisits the archetype of the crucifixion not as a religious narrative, but as a structural metaphor for disorder, violence, and inner fracture. The figure, unstable and fragmented, appears less as a martyr than as a body overwhelmed by forces that exceed it. The cross functions as an axis rather than a sanctuary, confronting a pictorial space in constant eruption.

Through abrupt gestures, contrasting colors, and fractured forms, _Crucifixion du Chaos_ captures a moment of rupture — both formal and conceptual — where structure persists but meaning collapses under the pressure of chaos. This work stands as a key acrylic piece within the artist’s practice, bridging expressive immediacy and the darker, more condensed materiality later developed in _Noctis Corpus_.

Crucifixion du Chaos

**Noctis Corpus – Purgatory** is part of an ongoing pictorial research focused on the body as a site of tension, containment, and inner exhaustion. Here, the human figure is neither represented nor identifiable; it emerges in fragments, dissolved within dense, stratified matter, as if the painting itself were carrying the weight of pain.

The composition suggests a suspended state, an in-between where nothing fully collapses nor resolves. Light does not announce redemption but appears as a fragile rupture within a dark, organic field. Anthropomorphic forms surface and recede, caught in a slow flux oscillating between resistance and surrender.

Through layered material, restrained gestures, and earthy tones, _Noctis Corpus – Purgatory_ does not seek to depict suffering, but to convey its silent persistence. The body becomes an interior territory, marked by a slow temporality, where pain is no longer a cry but an enduring condition.

Noctis Corpus - Purgatoire

L’Œil hybride

_Gaia_ evokes a primordial presence, halfway between figure and force. Emerging from a dense, earthy surface, the form appears rooted in matter itself, as if born from the soil rather than placed upon it. The body is suggested rather than defined, its contours dissolving into layers of ochres, browns and oxidized greens.

The face, partially revealed, carries a silent intensity — not expressive in a narrative sense, but charged with an archaic, almost ritual presence. Color accents break through the darkness like traces of inner energy, reinforcing the impression of a living substance in constant transformation.

Painted with thick, tactile material, the work explores the relationship between the human figure and the elemental. Here, flesh and earth merge, questioning origins, belonging and the fragile boundary between the organic and the symbolic. _Gaia_ invites the viewer to confront a body that is not individual, but universal — a memory of matter itself.

Gaia 

_La Chair partagée_ explores the body as a space of tension and proximity, where identities overlap and boundaries dissolve. The figures are not individualized portraits but corporeal presences, bound together by gesture, weight and shared matter.

Painted in oil with dense, layered material, the bodies appear simultaneously connected and constrained, caught in a fragile balance between intimacy and confinement. The composition suggests both support and dependence, as if each figure exists only through the other.

The work continues my ongoing exploration of the human body as a symbolic and existential form. Here, flesh becomes a common ground — a shared substance where vulnerability, resistance and silent dialogue coexist. The painting invites the viewer to confront the physical reality of being-with-others, where separation is impossible and presence is always collective.

La Chair partagée

**The Dance of Burning Bodies** explores the human figure caught in a state of tension and transformation. Through dense material, raw gesture and an incandescent palette, the bodies appear in movement, as if consumed by an inner fire.

The figures are not descriptive but symbolic, suspended between resistance and dissolution. The painting evokes a visceral choreography where matter, energy and human fragility collide, confronting the viewer with an intense and physical vision of existence.

The Dance of Burning Bodies

_The Prisoner_ explores the human figure as a site of constraint and inner confinement. Emerging from dense, earthy matter, the body appears trapped within its own weight, suspended between tension and collapse.

The figure is deliberately stripped of identity, becoming archetypal rather than descriptive. Through thick material, layered gestures and muted, telluric tones, the painting evokes a psychological state rather than a narrative, confronting the viewer with a silent and physical presence.

This work belongs to my current period, influenced by the _Noctis Corpus_ series, where the body is treated as a raw fragment of existence, shaped by gravity, resistance and inner pressure.

The Prisoner

_Noctis Corpus_ is a triptych composed of three vertical panels forming a single, indivisible work. Built from dense material, thick pictorial strata and integrated organic elements—particularly vine roots embedded into the surface—the work explores the human body as a nocturnal presence, subjected to gravity, constraint and inner tension.

The figures emerge slowly from the dark matter, suspended between appearance and disappearance, as if trapped in a timeless space. The body is not treated descriptively but symbolically, becoming a sign, a fragment of presence carrying an existential and archetypal charge.

This series marks a pivotal moment in my practice, where form, matter and meaning converge into a raw and uncompromising expression of the human condition.

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