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My daily life is marked by an overabundance of sensations, words, expectations, codes
and pre-established meanings; a network of uninterrupted thoughts, traveled by short circuits from time to time.

My artistic approach, if there is one, is uncertain.


The crumpling of thin paper, the smell of ink and glue, brushstrokes, the colors thrown in, the sprayed water, the tearing of the paper, the disorder generated by my gestures postpones my train of thought. These mechanics of the body distance me from myself, from my representations, from my expectations, from my control.


It is a duplication that persists until I reach a feeling of unity, balance, strangeness, surprise. Until a rendering or a void.

Most of the time, I don't know what these pictures are meant to portray. They are interior images brought to light, outside of my mind. The meaning appears post production.


The stories belong to those who look at them.



Born on the 22nd of November, 1978 in Rimouski (Quebec, Canada), my youth mostly
revolved around books, nature, classical piano, painting and travels. My eclectic life
journey has always been marked by an insatiable thirst to experiment, to understand, to
be useful.

After a master's degree in the field of evolutionary biology, a university certificate in
ethics and a training in classical piano, I worked in various fields of research, ethics and
biology. I have now developed a career in the Quebec health and social services
network. Despite all these occupations, I have always tried to preserve a space for music
and art.

First introduced to oil painting by Mrs. Paulette Laforest for 5 years, I studied the history
of art and different artistic techniques during my college degree in sciences, literature
and arts. More recently, I had the privilege of learning the work with tissue paper and
ink thanks to Mrs. Linette Arsenault, before her death in August 2018. She gave me the
impetus that still drives me today.

My career in art has occasionally been interrupted by my many occupations and my
travels abroad, but I cannot bring myself to do only one thing. The world is rich and calls
to be explored; touching everything, opening up possibilities, being overwhelmed by the
complexity of what is presented to us. My approach to painting feeds on this vertigo,
this insufficiency and these limits. It feeds on chance, language and science.

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