In the early stages of my artistic exploration, I began by simply painting from photographs I had taken—images that captured my interest for their composition or subject matter. Over time, as I delved deeper into photography as a medium, I started to approach each image with greater intentionality, carefully considering the staging (mise en scène) and composition of the frame in the moment it’s captured. This marked a significant shift in my practice, where the act of creating an image became as integral as the final artwork itself.
My first official series, Les Dormeurs (The Sleepers), reflects this evolution. In this series, I photographed close friends and loved ones in moments of rest—whether in their beds, in public spaces, or even inviting them to my place to paint them as they slept. These paintings explore intimacy and vulnerability, capturing the quiet universality of sleep and the deeply personal connections I share with my subjects.
As my practice evolved, I encountered new challenges while working on another series titled Les travailleurs (The Workers), these paintings were inspired by photographs I had taken during my travels. Unlike Les Dormeurs, this series depicted strangers—people with whom I had no personal connection. This emotional and relational distance between myself and my subjects introduced a new layer of complexity to my work. It raised profound questions about the act of representation: “Why recreate an image when it already exists in its own right?” and “What value does painting add to the image that justifies its reproduction?”
These questions continue to shape my practice, driving me to reflect on the transformative power of painting and the unique perspectives it can offer beyond photography. By grappling with these ideas, I aim to deepen my understanding of the interplay between observation, memory, and artistic expression.

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