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Born on December, 9, 1959 at Le Quesnoy (59)
University, has a master’s degree in history of art and archaeology
Titular professor of the schools replacing in Dijon
Practice the fine arts in schools
contact with the F.R.A.C. from Burgondy and National Education
· 1995 Quétigny « Association Reflets »
·1996 Dijon, Gaston-Gérard gallery « space cultural Paul Ricard »
· 1998 Marsannay-la-Côte « 12ème meeting of the Arts »
· 1999-2000-2001 Fontaine-lès-Dijon, « International Exhibition»· 2005 Fontaine-lès-Dijon, gallery the Source « 20th anniversary »
· 1999 Arnay-Le-Duc, gallery « Les Bains Douches »· 2000 Gémeaux, gallery of Art
· 2000 Dijon, the MJC Bourroches
· 2001 Chenôve, space of exhibition at the Kyriad
· 2001 Saint-Claude, le Caveau of the Artistes
· 2004 Fontaine-lès-Dijon, gallery La Source
· 2005 Dijon, University Canteen Mansart
· 2006 Besançon, University Canteen le Grand Bouloie
· 2007 Is-sur-Tille, space cultural Carnot
· 2008 Dijon, Société Générale, place of the theatre
· 2009 Sennecey-lès-Dijon, Media library
· 2009 Dijon, restaurant le "Clos des Capucines"
· 2010 Sennecey-lès-Dijon, Media library
. 2011 Sennecey-lès-Dijon, Media library
. 2011 Fontaine-lès-Dijon, gallery La Source
. 2012 Sennecey-lès-Dijon, Media library
"I always interviewed and questioned about the painting that worries me a lot.
In my recent paintings, I give to see an expressive painting, which is characterized by its materiality plastic! I bring a richness to the pictorial surface of the canvas.
"You have to be moved by the painting and not the subject. "The table should go more to our knowledge to our sensory and emotional memory to our knowledge!
I thus creates a dream space, a space of freedom and an area rich in sensitive expression.
Also the grounds painted buried underground magma coloured no longer coincide with reality but with all our mental representations.
The table become s an archaeology : paint is the canvas face physically and also my unconscious.
The weather becomes an important factor: the time needed to carry out the time-table and look to apprehend the canvas.
I work long by successive layers on the same canvas and I showed the expression of the painting ; I make a transformation of matter by the energy and the desire to go further.
I paint rather than the subject, but the 'painting' and I am increasingly of colour!
The landscapes or figures that recognizes under the thick material, in the tradition of classical themes of Painting allows me now to paint without having to worry significance...
The painting becomes essential, and created an emotion unique to the substance and implementation rather than conveyed by the subject! Painting becomes timeless. P.L. "