Through Sketching the Moment, I share a gentle and accessible approach to drawing.
This book is not a technical guide but an invitation to dare — to observe, to sketch, and to live the present moment through your own lines.

The Memory of Walls

Some places keep speaking long after we have left them.
Their walls retain the trace of gestures, of absences, of suspended breaths.
In Décrochages, I invite the viewer to listen to that silence —
the silence of a world frozen between care and abandonment.

Contemporary figurative painting here reveals a rare power:
that of giving voice to the inanimate.
A sink, a few pipes, orange stripes, a forgotten mask —
so many signs of a time when hygiene became both a symbol of anxiety and of redemption.
True to my visual language, I blend architectural precision with pictorial emotion.
Each line breathes with tension — between order and chaos, measure and fragility.

A Stance of Trust and Prestige

Choosing this dual reference (European expert + iCAC) is, for me, a way to:

• Value my work within a long-term perspective,

• Respect my collectors by ensuring complete transparency,

• Anchor my art within a professional and patrimonial continuity.

We often hear this phrase: “Art for everyone.”
It sounds full of good intentions. Generous, democratic, open.

And yet, every time I hear it, it makes me uncomfortable.

Because beneath this apparent benevolence, I sense an injunction. A reduction. A betrayal.

No one ever says “A Ferrari for everyone,” or “A vintage wine for everyone.”
So why should art be made universally accessible, at the risk of losing its complexity, its depth, its demands?

Découvrez un chef-d'œuvre captivant qui vous plonge au cœur d'une dystopie monétaire inquiétante. Dans “La cour des rats”, l'artiste défie les limites de la réalité en créant une scène fascinante où une cour de rats examine avec discernement une œuvre d'art elle-même en mise en abîme. Cette toile 100 x 100 révèle les profondeurs de notre monde financier, exposant les travers et les paradoxes de notre société consumée par l'argent.

Il est des gestes si simples qu’on en oublie la poésie.
Il est des matins où le corps, à peine éveillé, cherche à renouer avec lui-même.
Et il est des instants qui, sous l’œil du peintre, deviennent des mondes.

C’est dans cette tension fragile entre le banal et l’essentiel que s’inscrit La fille au lever du jour, une œuvre peinte à l’acrylique sur toile (100 x 100), réalisée en 2024.

In almost every one of my paintings, there is a gentle imprint —
a subtle vibration, a familiar curve, a light that doesn’t entirely belong to me.
Her name is Camille.

Camille is my partner, my agent, my mirror — and my muse.
Not in some mythical or distant sense. No.
Camille is here, close, every single day.
She is the gaze that questions with me, the breath that moves through my silences, the voice that tells me:
“It’s almost there. Keep going.”