Self-taught and on the fringe of institutional networks, my work is based around my personal experiences and my discovery of work by the New Realists and Jacques Yves Bruel.
First of all palaeontology: I have been establishing a curiosities cabinet since 1974.
Then the body, orthopaedics in particular: in 1986, I was awarded my National Diploma in prosthetics (production of arms, legs and other corsets).
Ancient Egypt, I spent a year in Egypt in 1988.
The Hell with my flying saucer accident at the Lunel Carnival resulting in serious burns.
I also became familiar with Hell with the survival soldiers from the First World War when I was an auxiliary nurse at the Institut National des Invalides during my national service.
The sea with free diving and spearfishing: through a quick calculation I estimate that I spent 2 and a half years submerged underwater.
The alchemy between palaeontology, harpoon fishing and my orthopaedic studies led me to question man’s relationships with ‘nature’ and above all his human nature. My approach is inseparable from my activities. This is why my work is based on several main themes: Hell, Ark, Hunting, Bibigloo…
My favourite medium to summarise these views is plastic.
Because if bipedalism, the production of tools, laughter and self-awareness are no longer the very essence of man it is to be sought elsewhere.
The very essence of man is no doubt his phenomenal ability to self-destruct, to develop gimmicks, useless and unlikely rubbish. Plastic is everywhere, multiples are the norm in everyday life as in contemporary art. In everyday objects, I look for hidden shapes – both animal and anthropomorphic – that anonymous designers had in mind; light was particularly revealing.
To award plastic its rightful place – namely the 5th element (the 6th in Asia) – I persisted in particular with polyethylene containers and traffic cones, two widely distributed icons.
Since 1991, using familiar accessories made of eminently contemporary materials my works have probed our relationship with our environment and our ability to confront our contradictions regarding our waste. My approach also questions our perception of public space. My perennial or ephemeral installations usually involve a magical bestiary that reveals convergence between plastic objects and animal forms.
Several years ago my work was exhibited in alternative locations, my installations now travel worldwide.
My interpretation of the world remains fun however, but above all, ironic.