His work emphasizes the human figure, highlighted with fluorescent colors. His paintings are overflowing with references to the history of paintings and the representation, without any irony or disrespect towards their well-known significances. The models are installed with great care in a dramatized space, reproducing the postures of martyred saints or witnesses of their demise, in levitation or weighed down by a body to carry, seen with a distance both abolished and underlined by many details and familiar accessories – pigeons, jean’s, belts, shoes…
The productions are likely to take two different turns, according to whether the image is invaded in a baroque way of a decoration of flowers or gilded reflections, drawing oneiric forests or consistent in the delicate poverty of a white background mackled with paint evoking the artist’s workshop.
Whatever the tonality of work, the human figure is at the central place there. The model does not endorse a costume but offer his presence, sulky or cheerful, sometimes like tired or disillusioned, but always attentive. The direct view marks both the acceptance of the role and the conscience of being observed by the painter even more than the viewer.
The tension born from the game of glances and tangled bodies – whose restitution is the main issue for the painter – able to create the mysterious communication which is established between spectator and models, gives all its power of attraction to a production which could if not have been only pathetic or comic.