Description
My monoprints are based on the reappropriation of unnecessary consumer objects, found or discarded. I use them as a printable surface to reveal their texture, aesthetics, and, if possible, their history on paper. I enjoy showing what is not immediately visible to the eye: the grooves of a vinyl record, the mesh of a worn sock, the delicacy of embroidery, the design of a crushed can. It is a spontaneous work that allows me to engage with my environment and question current challenges such as consumption, outsourcing, and feminism. I use cotton paper, recycled paper, or even handmade paper that I create from my old prints. Instead of using a traditional transfer process, I usually ink the object itself, which I then print directly onto the paper by passing it under the press or roller. The paper absorbs the ink and reproduces the relief of the object, giving it a unique texture.
Biography
Since 1984, while practicing law as a lawyer and mediator, my interest in art grew and contributed to a personal metamorphosis. In 2009, upon moving to Houston, I decided to focus my energy on my artistic skills and took printmaking classes at the Glassell School of Art, MFAH. I exhibit in galleries, art fairs, and solo or group exhibitions both nationally and internationally. I particularly enjoy experimental collaborations with other artists: “Laundry” with JeanF Jans (2013 and 2014), “Bach à 4 mains” with Italo-French composer Tiziana De Carolis (2015), “How would you like to be Remembered” with writer and director Clara Ploux (2016), “Dry Feet, a night for relief”, an installation and video projection with Pablo Gimenez Zapiola (2017), “L’enclos, cet horizon qui nous poursuit”, an artist residency with 9 participants in Belgium (2018). My work has continued in Brussels since 2021.
Works
