Before I start making a sculpture, it is first of all a precise and well-defined idea in my mind. The first phase is the desire to deal with a subject. Then come the symbols, objects or other elements that I will model to address this subject. As I go along, the project takes shape and the technical aspect is refined. I visualise the sculptural constraints and come up with a solution. When everything is in place mentally, the clay work begins. It happens that the technical reflection pushes the material to its limits.

 

It is the emotions I wish to express that guide me in my work. The subjects I tackle are those to which I react with the most sensitivity. My creative process therefore follows a very instinctive dynamic.

 

Among the recurring elements of my work, there is above all the invisible. It plays an important role in my sculptures because it allows me to evoke and suggest, which creates the necessary space for the expression of emotions. It is the fundamental complement to the tangible parts of the sculpture.

 

Hands are another component often present in my creations. They are an important source of inspiration because they allow me to tell what the physical expresses through non-verbal communication. Thus, the representation of the hand evokes the beginning of a dialogue between the theme treated and the experience of people. As a very tactile person, the hand is the vehicle for emotions and life experiences.