Comme des enfants
Three children stand together, unselfconscious and genuine. Their closeness represents something we often lose as adults: the ability to love and connect without precondition. Children are blind to the labels that later separate us, race, class, education, difference. They see with their hearts, not their categories.
Comme des sœurs
While Comme des frères explores the barriers men face in expressing emotion, Comme des sœurs reflects the opposite: the openness, empathy, and mutual recognition often seen among women. Their expressions are not performative. They’re contemplative, grounded in compassion and self-awareness.
Comme des frères
This piece challenges what it means to be male in a world that still asks men to withhold tenderness. Too often, society confines masculinity within narrow borders: strength without softness, pride without vulnerability, presence without emotion. With Comme des frères, I wanted to paint something different, a visual permission slip for men to feel, to reach out, to care.
Texture as Memory: Why I Layer Surfaces in My Work
As a contemporary expressionist painter, I use texture to evoke depth, not just visual, but emotional. It’s a record of feeling. Beneath each visible layer lies another, hidden one. Some are scraped away, others remain buried, just as memory fades or transforms over time.
The Power of Gesture in Contemporary Art
In contemporary art, gesture is a form of communication, a direct link between emotion and action. When I paint, every mark carries intention, whether it’s a bold sweep of the brush or the faint trace of hesitation. Those gestures, to me, are confessions.
Art and Mental Health: Expressionism as a Mirror of Emotion
Art and mental health have always been intertwined, both are ways of confronting what it means to be human. For me, painting is not about escaping emotion, but about translating it into something visible, something honest.
Collectors and Connection: Why Stories Matter in Art Purchases
Art collecting has always been more emotional than transactional. People rarely buy a painting simply because it matches a wall, they buy it because it stirs something within them.
Over time, I’ve come to see that what truly connects a collector to a piece isn’t the subject or technique; it’s the story.
French Roots, Californian Light: How Place Shapes My Palette
France taught me stillness. I grew up surrounded by muted light and architecture that seemed to breathe with history. The air carried a quiet melancholy, an awareness of time passing, of stories lingering in the texture of walls and streets. That sensitivity formed the foundation of my work. My early paintings were introspective, rooted in shadow and restraint.