I learnt to write the alphabet at around the age of five at nursery school, using a quill and ink. Captivated by the fluidity of the writing motion, which filled me with wonder, I learnt to read very quickly. Around the age of seven, I then discovered the world of Western calligraphy.

In 1995, I discovered Chinese calligraphy thanks to the artist Anouk; it was a real revelation. I met the Chinese calligrapher Ling Hsu, and I studied (I was already practising on my own)  Chinese ‘Xieyi’ ink painting for about two years as well (the spontaneous style ‘Xie’ means ‘to write’ and ‘Yi’ means ‘meaning’). Nevertheless, I was always aware that I did not belong to that culture. It was in 2004 that I stopped painting in the traditional Chinese style for good, responding to a need to move towards a more personal and more "european" style.

From 2005 onwards, I took courses in art history, philosophy and psychology. At the same time, I began working as an assistant in the art studio at the MAMAC in Nice (Museum of Modern and Contemporary Art). I developed a passion for printmaking, and it was during this period that I joined Sébastien DiNatale and the ArtNice-Editions group based in Old Nice, which at the time was heavily focused on experimental contemporary printmaking.

2006/2007, the “Poetic Abstraction” period: I met Erika Daviet-Westphal, who introduced me to Alain Boullet (Professor at the École Nationale d’Art de Nice – Villa Arson from 1973 to 2001). For a time, I followed in the footsteps of Alain Boullet and the Poetic Abstraction movement. (a contemporary pictorial movement of the late 20th century following on from Lyrical Abstraction) Ultimately, I also moved away from this path, which I found not sufficiently “rooted” in my being.
From 2011 to 2015, I enrolled as a non-degree student at EMAP Villa Thiole (the municipal school of visual arts) in Nice. I studied under various artist-teachers. I learnt classical techniques of art engraving (with Prof. Sylvie Maurice), contemporary drawing (with Anne Pesce), art history (with Catherine Macchi) and ceramics.

In 2009, I met the painter Christian Geai and undertook a one-year apprenticeship at his studio-school on Rue des Ponchettes in Nice. I gained a master’s qualification in mural fresco painting (an ancient technique) and trompe l’oeil painting.
However, I did not pursue this path either, and this apprenticeship mainly familiarised me with the technical aspects of painting. In my view, resemblance is mimicry and can only be a ‘decorative’ rut. Artistic painting must be fiction, a witness-trace, an imprint—both literally and figuratively—of a living being at a given moment.

From my very first steps in so-called ‘European’ painting, I quickly moved away from representation based on a model, retaining mainly just a single, pivotal moment of movement. This movement of the body or the hand serves as a matrix for discovery and testimony, and for conveying the expression of life. Since 2005, I have incorporated bodily gestures (the physical imprint of my own body) in a quest for poetic meaning and a ‘true’ language of the living. 
Erasure [traces], disappearance [imprints], temporality [gesture], and duality [writing] underlie all my works. 

In 2020, as a natural evolution, I have incorporated synchronous rhythms of inscription into the French language and the Latin alphabet, a ‘calligraphic’ vocabulary that, paradoxically, often shifts towards an abstract form. I seek to formulate a new style of ‘calligraphy’ that synthesises my path as a writer with my ‘moipeau’ experimentation, which began twenty years ago, culminating in a fusion of writing and the body.