My first period was based on the imaginary. Fictional architecture, seascapes and still life allowed me to develop technical skills. Reflecting on the images that surround us and those that I was making helped me to develop a critical approach in line with my university training. When the visual artist takes the representation of his subject in the place of the original, he creates a mise en abyme.

Our technocratic world of universalised communication is increasingly sending us back to a vicarious experience. So I proposed a narrative deconstruction through juxtapositions of reframings revealing the different stages in the making of a painted image. Before the passage to the third millennium, the line was experimented with in random coulures, reinforcing the graphic aspect and giving a new perspective to works including elements in relief, combining materials and representations.