Chargement

Présentation

Wilderness, elements, migration.
True, deep darkness of night. 
Insects, reptiles, amphibians.
Vibrant, early birds in flight.

Sunset, sunrise, moonshine.
Saline, iodized tide.
Bones, leaves, feathers.
Silence, wild animals hide.

Mountain, valley, forest. 
Sea, lake, ocean.
Rock, fossil, mineral.
The source of my devotion.

Naturalism, ruralism, multi-linguism.
Concept, matter, expansible. 
Expression, impression, intuition.
Holding the intangible.

Dream, wake, rise.
Real, abstract, illusion.
Earth orange, sand white, seed black.
Culture, movement…fusion.

Breathe, envision, create.
White canvas, blank page.
Spice yellow, profound red, tropical violet.
Joy, passion…artistic rage.

Explore, observe, interpret.
Coastal, continental, island.
Ethereal blue, organic green, liquid turquoise. 
Reverie, vision…silence.
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These words in which I come alive.
This lexis of my creation.
Is the glossary of my existence.    
My passion…my motivation. 

 

Mon parcours

- Gallery Allegro 2018 – Clos fleury pop up studio 2017
-‘Moon Dust’ – Selected artwork - Salon d’Automne, Royan 2017
-‘Blue Nostalgias’ - Solo Exhibition – Le Barouf, Mornac Sur Seudre 2016
-‘Red Gate’ Pop Up Studio – Zipolite, Oaxaca, Mexico 2015
- Masters degree in Language, Culture & International Affairs (with honours) Université de La Rochelle, France 2014
-‘Gemology’ Permanent Exhibition- Lullabee Jewellery, Mornac Sur Seudre 2012-14
-‘A Day in Royan’ – Photoshoot with Magali Lefay, Professional Dancer and Filmmaker, Royan 2012
-‘Links’ - Photoshoot with Samuel Boulesteix, Sculptor, Royan 2010
‘Femme au Bord’ – Solo Exhibition - Le Barouf, Mornac Sur Seudre 2010
-‘Femme au Bord de la Mer’ – Duo show with Sophie Dubreuil, Royan Espace APR, 2010
-‘Mineralia’ Solo Exhibition – Le Barouf, Mornac Sur Seudre, 2009
-‘Mineralia’ Solo Exhibition – Espace APR, Royan 2009
-‘Port des Arts et des Saveurs’ Group Exhibition, Royan 2009
-‘Des Insectes et des Hommes’ – with Entomologist Patrick Bleuzen, Limoges, France 2009
-Art of Indulgence – Collective Show – Red Tree Lodge, Fernie, British Columbia, 2007
-‘Five girls and a Guy’ – Group Exhibition, Invermere, British Columbia, 2007
-Fernie Banner Project, Fernie 2006
-‘Mineralma’ Solo Exhibition – Fernie Arts Station, Fernie
-‘Sacred Circle’ Solo Exhibition – El Pabilo, Cancun , Mexico 2004
-‘Sacred Circle’ Solo Exhibition – Casa de la Cultura, Cancun 2004
-‘A la Luna’ Gallery, Isla Holbox, Mexico 2002-04
-‘Festival Callejero’ – Art in the Street Festival – Cozumel, Mexico 2003
-‘Casa del Quetzalcoatl’ Studio, Isla Holbox 2001-03
-‘Cameleon Cotton’ Home Deco Line – Holbox 2000-2004
-‘Mayan goddess’ – Traditional costume for Miss Quintana Roo Beauty Contest, State of Quintana Roo
-‘Legend of the Volcanos’ - 150th Anniversary of Isla Holbox – Recognition by the State of Quintana Roo
-‘Fruta Fresca’ – Kid’s Fashion Show, Isla Holbox - 2002
-Muralist – ‘El Nisperal’ Clinic for Alternative Therapies, Etla, Oaxaca 2001
-‘El Platano y la Rosa’, ‘Leyenda de los Volcanes’, ‘Ida y Vuelta’ – Isla Holbox 2000-02
-Muralist – ‘la Isla del Colibri’ – Isla Holbox - 2000
-Muralist – Hotel La Palapa – Commissioned Works – Isla Holbox, 2000
-‘Akycha the Adventurer’ – Children’s Book – Author/Illustrator
-Art Leblanc Memorial Award – 1st Prize Young Artist Category – Juried Art Show 1997

Since childhood and youth as a young naturalist, I have been mesmerized by the diverse flora and fauna of the North America’s rugged landscapes. A profound and passionate observation of nature and the elements - in their splendour and harshness - did not only provide endless, colour-infused inspiration, but sparked my desire to interpret and recreate the stunning, visual information of my surroundings. The wilderness - from northern Canada to southern Mexico - continues to form my vision, my creativity and my artistry. After 10 years of residence in France, my unwavering joy and nostalgia for rural America and Europe continue to impact the nature of production. 

From a young age, growing up in the family art gallery, I admired and childishly envied the many great artists that exhibited there. Their work was fascinating. Their techniques were wildly diverse: Totally mind-blowing. Painfully meticulous. Loose and self-assured. Rugged and nonchalant. Serious and abiding. Easy and weightless. Strained and heavy. Focused and energetic. Detached and carefree. Rigorous and animated. Lethargic and steady. All magnificent. All riotously different. I naively wanted to be all of those things, and paint all of those things. They were artistically heroic to my young yet becoming-well-trained eye. I dreamed of painting. In parallel, I learned that the fine talents of each artist were secondary to their countless hours of relentless work. Thus, this assured me that my artistic fantasies were possible if I worked, relentlessly. Through years of exposure to stylistic variety, at age 8, my mind began to question and understand one recurrent theme: Validity, validation and value. Of course, at my young age, I used very different terms in my questioning: If an artist of great technique is creating this work, it must be important! Right? If artists develop their technique, their styles, works and visions are valuable. Their art is valid and valuable because it is. It is made, it is visible, it is valuable was my equation. Artistic expression, no matter what form it may assume, is to be considered, validated and valued. This should certainly not become an excuse for poor execution or sloppy technique, but rather a reminder that quality ‘technique’ can be expressed and perceived in a myriad of ways. 

My body of work is the result of these influences. These influences are my drive as an artist. I am currently developing various series of fine art paintings which allow for diversity of colour, brush stroke and technique, which, in turn, allow for my enthusiasm and eager willingness to work. Many of my paintings however, are outsiders that just don’t fit-in to any one collection. I shall title them ‘The Misfits’. They are fleeting moments, images, sentiments, whims and visions that appear only once. 

Illustration for a variety of stories, texts and themes is another important aspect of my work.  In the studio, I work in water-soluable oils (Winsor&Newton) and extra-fine, professional quality acrylic paints (Golden, Liquitex, Kroma) on canvas, as well as molding paste, texture in diverse mediums and pigments. When I travel for short periods, water colour pencils and sticks on cotton paper are valuable go-to mediums for preliminary sketching (and doodling with my kids), for their practicality, drying time and space efficiency in the suitcase.