Artworks
My work unfolds through series. Each series explores a facet of the body, the psyche and memory, through a distinct plastic device. The series are not closed chapters, but fields of research that echo, shift and evolve over time.
Textile portraits — the founding body of work
Fabric as a language of presence and inwardness.
The figures are born through direct cutting and assembly into the material, with no preliminary sketch — successive adjustments of shapes, colors and patterns, using upholstery fabrics, velvet, brocade and cotton. Textile acts as a sensitive surface, able to hold states of being and movements of the psyche. Depending on the piece, the figure holds back, blends into the material, or occupies space with an affirmed presence.
"Texture is the most convincing technical element. The artist masterfully handles fabric, both as colour and as material, creating a surface that is both tactile and painterly."— Ainhoa Fernández, curator and journalist, April 2025
Recent works
The bird series
In this series, the bird appears as a messenger. It brings a new idea or a revelation that sets off an inner movement. The figures are caught at that tipping point: something has just emerged, and their inner landscape begins to reorganize itself.
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The Venuses — a hymn to femininity
The Venuses are large vertical female figures, composed of flowers, foliage and ornamental fabrics. Face, hair, adornments and background merge into one and the same textile profusion. These portraits assert a femininity that is powerful, free and overflowing with life, fully occupying the space.
Other textile portraits
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Private collection
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Psychic bodies
These works were born from a reflection on the construction of the psyche in childhood. They question the founding stages of inner development: the wounded child, the formation of the ego, the self and the superego, and the strategies put in place to adapt to the world.
The figures are shown in full, in square formats, made in velvet. Words emerge from the textile — fragmentary, sometimes like whispers, sometimes like calls. The text does not illustrate the image, it runs through it. It acts as an inner voice, a thought surfacing straight from the material.
The bodies represented are unreal, unstable, sometimes disjointed. Plastic distortion becomes an emotional script, revealing what is structuring itself, freezing, or transforming over the course of an inner history.
These works belong to the wider territory of the hypnotic room — a space where the unconscious is summoned as an active force, guiding the gesture, bringing images to the surface and letting inner states emerge. What I propose here is a possible path toward inner reconciliation: stitching back together what was scattered, reunifying what was fragmented.
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Canvas-sculptures — the great inner jumble
Portraits built from discarded materials — abandoned objects, forgotten toys, obsolete plastics, everyday fragments — assembled, sewn and layered until the portrait overflows its traditional frame, toward volume and accumulation. Covering the whole in white underlines the persistence of this inner saturation, made of attachments, rejections and memories.
"Sculpted canvases at the border between painting and sculpture, part of the contemporary art of recycling."— Ouest France, 2021
Dimensions: 75×115 cm, depth 9 to 18 cm. Year: 2021.
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Oppressed women
A series of portraits that makes visible an invisible constraint inscribed in women's bodies. The figures are compressed under transparent plastic: features are distorted, breath is restrained, the material keeps the memory of the pressure. The portraits do not tell a story — they reveal a state.
Technique: textile portrait, assembly under plastic. Dimensions: approx. 20×40 cm. Year: 2025. Unique pieces.
Pinned women — figures of resilience
This series extends Oppressed women. It was born after an exhibition, when visitors expressed the wish to see these figures freed from their plastic enclosure. The portraits are extracted from the compression device — breath is restored to them. But liberation does not erase the effects of the constraint: it makes its marks visible. The figures are held by pins, like a deliberate pause after constraint: a standing body, yet one that carries memory.
Framed under glass, 42×52 cm. Available for sale — get in touch.
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The journey of a work
Some figures from the Oppressed women series were freed from their plastic hold and resettled in a more welcoming setting, giving rise to the Pinned women series.
Femme épinglée bleue
Femme épinglée
Femme épinglée - corde bleue
Intimate portraits
An ongoing body of research that takes the vulva as its anchoring point — a central and long-hidden part of the female body. In direct resonance with Oppressed women, this series shifts the question of constraint toward this pivotal space — historically over-invested by devices of control — to counter it with a reclaiming through form: affirmed, powerful and joyful. Made in stretchy, soft, colourful textiles drawn from the world of childhood, introducing a tension between care and domination.
Ongoing research — textile mock-ups and staged scenes, 2026.