About

Biography

I was born in Paris in November 1957 and studied at the École Nationale des Arts Appliqués et Métiers d’Art Olivier de Serres.

After working as an art director in several communication agencies, I set up a design studio with friends. I have taught at several schools of design and visual communication (Com’Art, Gobelins, IESA) and also create illustrations that blend traditional and digital techniques.

Alongside all of this, I have kept practising intaglio printmaking, which I taught myself thirty years ago.

Approach

Chance sometimes helps you do things better.

First and foremost, of course, I engrave in a very traditional and painstaking way, with burins and drypoint needles.

But I also like to try marking the copper differently, quite randomly, with sand, glass and — most often these days — wire brushes or sandpaper. I have even tried scratching it with drawing pins and small nails of various sizes in jute sacks.

Chance creates the shapes first; only then do I step in, to give more meaning to the abstraction, which becomes a support or a guide for finishing the print.

It is this half-controlled, half-random way of working that I try to preserve whenever I start a new print.

Awards and exhibitions

• Animal painting medal, Salon de Fontainebleau
• Prize of the Salon de L’Isle-Adam
• Silver medal of the Mérite français
• Grand prize, Palais Salon, 2007
• Charbonnel grand prize for engraving, Artistes Français, 2023
• Invited to show my prints in April 2025 at the artothèque and media library of Persan
• Feature in Pratique des Arts magazine, August–September 2025
• Bronze medal, Artistes Français, 2026
• Boesner engraving prize, Salon des artistes du Val-de-Marne, Villa Médicis, 2026

A visit to my studio

Pratique des Arts magazine devoted a six-page feature to my work, “Poésie des animaux” (The poetry of animals), in issue 182 (August–September 2025). In it I talk about my background, the tools I use (some of them diverted from their usual purpose), my inks and paper, my work with my printer, and the four stages of a print, from plate to proof.

“Blue lets me bring out the details better and, above all, it gives a smoother transition with the engraved patterns when I want to heighten my prints with colour.”

Read the article (PDF in French, 2.2 MB)

Source: Pratique des Arts, issue 182, August–September 2025, p. 80. Article reproduced unaltered by kind permission of the magazine.