Since 2014, I did my first bronze sculptures issued from my ceramic works, giving life to an long lasting dream.

My work is merely dedicated as an anthem to “feminity” and fecundity.

While doing it, I have the blessing to discover new aspects of the beauty, and to distinguish possible beauty in other forms than usual and traditional standards.

In the very good quality living models workshops where I go, I am likely to meet and to recognize the richness and the singular beauty which emanates from a really alive and expressive body.

Then, mysteriously, it seems that the envelope and morphology of this body become adjusted like a miracle to its generosity, allowing really profound beauty to arise.

It is the beauty of this very life, in its sincerity, its absence of disguise, its variety and its truth, which I like to insert in the clay, with an always renewed pleasure.

The spirit of “naturalness” and safeguarding of an authenticity is at the centre of my work and my current life. This is why my more or less rough sandstone grounds, remains naked or almost.

They are fired with the gas flame kiln, at very high temperature (1.300 °C), generally in rather strong reduction condition in order to reveal the character of the sandstone which touches me most directly.

My concern is simply to transfer something about the life of the model in the clay.

I can be satisfied with my work only if one share of this spark of life is still in the completed sculpture.

It is then ready to go live its own life, far from my workshop.

If I want to be more precise, and to keep being sincere, I must admit that my artistic “intention” is not resolutely (nor clearly) defined… It is moving and evolving permanently, and I am far from being fully aware of what occurs in me.

Moreover, I do not wish to be uselessly sharp with this definition process, which is my “living-life” in movement.

However, I am able today to express some of the emotions on which my current work is founded:

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