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My background    En français   


I draw since the childhood.

My grandfather painted with talent; he tried, the summer of my 8 years, to transmit me his art; he fast came up against my difficulty perceiving and reproducing a color palette because of my color-blindness: inappropriate colors, missing nuances, monotonous tones even downright "ugly"... I stayed there there with the experience of the color and I continued to draw in the feather, in the charcoal, in the pencil.

I take my brushes for the first time in 2000, with Sylvie Mainil, painter and weaver.

From 2002 till 2004, I meet various masters who open me their universe: Xavier Swolfs, Pélagie Berquin, Janine Gallizia, Viktoria Prischedko.

With Odette Feller, in 2003, the watercolor changes : I discover the  " Palm' Arts " method in particular one of its foundations: paint without drawing, or from  abstraction to representation.

For me its an elastic jump: panic but fascinating. This is the way I want to work.

My meeting with Roland Palmaerts consolidates me in this idea and I continue all my cursus with him with my enthusiasm, my rising talent, my doubts and my ideas.

He gave me the opportunity to follow several "master workshops":

  • With Victoria Prischedko, Odette Feller, Ewa Karpinska: 3 feminine looks on color (2009)
  • With Roland Palmaerts, Cao Bei An, Jean-Louis Morelle: 3 male looks on color (2009)
  • With Roland Palmaerts: "The world of color" (2010) and "Master Palm'Arts International" formation (2011)

Watercolor becomes a pact that I make with water, color and time: directing my three friends with a firm hand but leaving them the freedom to offer me magnificent effects.

After a few sketches, I build my watercolors directly on the white sheet pushing boldness and creativity in gesture, composition and color.

I educate my brain to palliate the deficiency of my eyes in the perception of colors: to know them, to understand them even in their chemical reactions, to take advantage of their differences and juxtapose transparency, light and velvety with opacity, textures and power.

I have now a personal palette of colored grays enhanced by some brighter hues.

My style asserts itself little by little, I play with the line, I approach again  architecture: on departure of the big cities of the world, I like to give them an imaginary side while keeping them a familiar air.

Today, I exhibit in Belgium and  I transmit my passion through teaching.

I continue this wonderful way, always remembering this piece of sentence of Paul Eluard which applies so well to the watercolor:

"... The  accomplished work is work to do because the time to turn, it has changed"