Until 1998, I was searching for absolute perfection. A quotation by Tay Garnett "There is no more terrible prison than the beautiful” acted like an electric shock and made me think over. In 1999, I met the work of Louise Bourgeois that impressed me deeply. The interpenetration of the personal experience with the work of the sculptor which is the characteristic of her work opened a final breach in this search of absolute perfection. I chose to change angle to evolve to a freer and more personal approach of my subject, without giving up it completely, since the purity of the lines, the precision of the curves and the balance of the forms form integral part of my work of sculptor. This questioning leaded me to split up the image of the body and to privilege more and more purified geometrical volumes which make it up. Direct influence of my cinematographic studies and of what I lived, the series of cut out drawings "windows on body" and of sculptures out of stone and metal "broken bodies", are the product of this turning. Scrambling the tracks and gumming the anecdotic resemblance with the model by not representing its face, enable me to universalize the representation of the body, to draw portraits or to carve busts "resembling" to collect the singularity of each person. My
Work fits frankly in the duality. Paradoxically, by letting enter a share of irrational, personal experience and intimacy in my work, it gave me a greater control of it.
