Self-taught and on the fringe of institutional networks, my work is based around my personal experiences and my discovery of work by the New Realists and Jacques Yves Bruel.
First of all palaeontology: I have been establishing a curiosities cabinet since 1974.
Then the body, orthopaedics in particular: in 1986, I was awarded my National Diploma inprosthetics (production of arms, legs and other corsets).
Ancient Egypt, I spent a year in Egypt in 1988.
Hell with my flying saucer accident at the Lunel Carnival resulting in serious burns.
I also became familiar with Hell with the survival soldiers from the First World War when I was anauxiliary nurse at the Institut National des Invalides during my national service.
The sea with free diving and harpoon fishing: through a quick calculation I estimate that Ispent 2 and a half years submerged underwater.
The alchemy between palaeontology, spearfishing and my orthopaedic studies led me toquestion man’s relationships with ‘nature’ and above all his human nature.
My approach is inseparable from my activities. This is why my work is based on several main themes: Hell, Ark, Hunting, Bibigloo…My favourite medium to summarise these views is plastic.
Why plastic ?
Because if bipedalism, the production of tools, laughter and self-awareness are no longer the very essence of man it is to be sought elsewhere.The very essence of man is no doubt his phenomenal ability to self-destruct, to develop gimmicks and useless and unlikely rubbish.
Plastic is everywhere, multiples are the norm in everyday life as in contemporary art.
In everyday objects, I look for hidden shapes – both animal and anthropomorphic – that anonymous designers had in mind; light was particularly revealing.
To award plastic its rightful place - namely the 6th element – I persisted in particular with polyethylene containers and traffic cones, two widely distributed icons.
Since 1991, using familiar accessories made of eminently contemporary materials my works have probed our relationship with our environment and our ability to confront our contradictions regarding our waste.
My approach also questions our perception of public space. My perennial or ephemeral installations usually involve a magical bestiary that reveals convergence between plastic objects and animal forms.
Several years ago my work was exhibited in alternative locations, my installations now travel worldwide.
My interpretation of the world remains fun however, but above all, ironic.
Plastic materials (in fact, polymers) are a pure product of 19th century and beginning of 20th. Plastic materials are stemming from petrol. Petrol is stemmin from decomposition of lakeside and marine organic matter (planktons). Then it is a fair things return to convert it in little animals, especially in fish, and to achieve a phylogeny of Toro by plastic.
Plastics' little story : 1861 : the parkesin, one celluloïd, was patented by Parkes 1907 : Leo Bakeland created the Bakelite 1912 : Fritz Cattle launched the industrial production of PVC 1933 : Fawcett and Gibson invented the polyethylene.
Regarding industrial process the injection pan is from 1878 an the extruder from 1879.
Artists and designers : 1888, the Leprince's patent about celluloïd film for cinema From 1890, decorative objects were made in celluloid by blowing In 1916, Naum Gabo and his brother Antoine Pevsner made african masks in celluloïd In 1936, Hans Bellmer misappropriated celluloïd dolls Since 50's, the News Realists - in particular Arman, Spoerri, Nicki de St Phalle, Yves Klein - used plastic matter in all fields (sculptures, misappropriation, installations, performances) In 1957, Don Featherstone created the « phoenicoreptis ruber plasticus », plastic pink flamingo produced in 20 millions copies Around 1960, « Gladys » de Don Featherstone ( lampe-oie en polyéthylène) In 1970, « Cometa » by Ettore Sottscass (metacrylat lamp) In 1995, « Lumibär » by Heinz Klein and Hans Georg Leidig (polypropylene bear-lamp)