Medicine taught me how to blend knowledge and conscience: an imperative to respect what is objective and to complete it with senses. That imperative also permeates the capacities of my vision and expression. What I see and how I see in art put the same detached/objective and empathic/lyric components together. I instinctively chose to represent the existence and to look into it. The same as I had to root my medical practice in social sciences, I rooted my art in the inner nature and determinants of existence.
I am attracted by the form and function of such existence… [see more here]

Pencil on canvas, approx. 80x50cm
Unlanded#1801 orthogonally slices the contact surface of two masses: a watery, flowing one on the left and a stony, still one on the right. It tomographically depicts a wall of water facing a wall of stone. Unexpectedly, the slice has cut figures that were sunken in water and that will never penetrate into the rocky mass. So, they will remain unlanded.

Pencil on canvas, approx. 80x50cm
Unmoving#1801 tells of the motionless horizon faced by those who were born along a trail, at the remotest corners of an endless, old-growth forest. The forest is life, it has become the atmosphere of those living within it. It is also the sole reality they will ever experience. Whatever the direction, the eye can only get the sight of the forest. The sky is far above the top of majestic trees. Time does not pass. Time does not work as usual.

Pencil on canvas, approx. 50x80cm
BloodScald#1801 is a story of violence from a wasteland. It depicts a stream of blood that scalds the same flesh it is spilled from. It frontally slices a wound, unveiling the thick liquid drawing life from the flesh. The raw tissue of the broken body is dotted with burnt blood cells, cauterized by the same blood flow. The blood is red and burning, the burnt cells are black – fixed on the canvas like lifeless, empty eggshells.

Pencil on canvas, approx. 50x80cm
Weight#1802 tells of a heavy, immovable, oppressing presence precluding the horizon of those facing it. The more the eye tries spotting the horizon, looking at it, the more the sight is repelled by the presence. The view cannot be freed from a presence that impedes the ultimate vision of what is next or what could be. The eye is forced to stay behind, not even to imagine what is behind because to know the unperceived is impossible. The presence, its inner mass, and its weight remain the sole feature of existence.

Pencil on canvas, approx. 50x80cm
Abyss#1810 tells of an abyss over an edge, a vertical horizon pointing at the profundity. It is not a horizon to try to cross but rather a cliff to avoid falling into. Nonetheless, falling and sinking remain one’s destiny. It is a frightening view to the eye, insistently blinking to make it vanish. But the disturbing presence remains, the existence of the abyss is there, remarked by the floaters sliding on the cornea every time one blinks. “Un malaise” that one cannot avoid thinking about because it stays.

Pencil on canvas, approx. 50x80cm
Place#1804 relates to the feeling of distance. A bright, broken horizon is instantly unveiled to mark its distance from the watcher. Electric discharges cut the sight.

Pencil on canvas, approx. 50x80cm

Pencil on canvas, approx. 50x105cm

Pencil and pastel on canvas, approx. 50x80cm

Pencil and pastel on canvas, approx. 50x70cm

Pencil and ink on canvas, approx. 90x60cm

Pencil on canvas, approx. 100x62cm

Pencil and ink on canvas, approx. 100x70cm