Very often, contemporary art offers works where the matter prevails over the represented subject, as the text has overtaken the work of art. It is the way that the trivial, the ugly, the morbid, the incongruous, the most patchy and provocative facilities are brought in historical sites, museums, galleries or lavish residences through different concepts. Beauty and aesthetics have almost become a counterculture which could be defined by the headline: “This is pretty, there is nothing to see.”
Abandoned factories, overpopulated beaches, ominous suburbs, poverty, decay, and death aren’t sources of inspiration to me… It was quite pleasing to see Duchamp transform his urinal into a work of art in 1917 ; setting the stage for innovation by defining a manufactured product as a work of art, or Malevitch, exhibiting his “white on white,” in 1914! Art found an amazing freedom of expression, but a century later, the concept of innovation and avant-garde is threadbare, and Jeff Koons’ lobster presiding in Versailles has become indigestible.
Instead, I claim my works as sources of visual pleasure, emotion, discovery, and positive thought. My photos go hand in hand with “the viewing pleasure” and the aesthetically pleasing emotion provided by harmony and beauty. I truly believe that “beauty makes happy,” that it is the link between all civilizations as emotionally resonant. Thus, my aim is to offer a vision that brings the world and nature together in the most sublime they have to offer through my works.
I play with colours (from bright and galvanizing orange to soft shades of blue), melodies (from samba to the soothing sounds of the sea), perfumes (from the exotic incense to the common cypress) to send the spectator in his own lyrical daydream, his own five senses waltz. “The multitude of her subjects is overwhelming, the richness of her palettes astounding, owing to her ability to segue between two media.” New-York Art magazine article–october 2008 by Catherine Y. Hsieh “A resplendant thousand fold”
I work in my office-workshop where only my artist proofs are stored. Available formats and print runs are presented in the Prices & Formats section of the homepage. I can also satisfy any demand concerning a particular format. Orders of photographies laminated on dibond paper need production delays ranging from 5 to a maximum a 15 days, depending on the format. I receive your order, hand over the printing to my laboratory, then I will control its quality, colour balance etc…
When the printing is done, the delivery is provided by a transporter, a particular attention being given to the packaging (all works, except classic printings on fine art paper, are wrapped in bubble pack and shipped in rigid carboard box).