I entered in 1988 in art school with booklets in my pockets. Pages I filled in Djibouti and Obok.
Studying then in the ateliers of Jean-Michel Alberola and Paul-Armand Gette at the ÉNSB-A in Paris,
in these of Jeff Wall and Mark Lewis at UBC in Vancouver in 1993, assisting later the Navajo sandpainter Joe Ben Jr in Arizona and New Mexico, and travelling until 2000.
I operated in a video studio at the prison La Santé in Paris from 2002 to 2005, developing my video and interdisciplinary work at the same time.
I began to teach art in Belgium in 2006, and curated a project for emerging artists in an art center in Liège from 2014 to 2019.
Now living in Brussels, I develop as an artist and producer my video work and the label 19 MARS Productions.

The countdown of existence hooked me almost twenty years ago, setting itself in a life journey I can’t however lead in its time scale. Within my choice of some videographic tools and several mediums devices, I aimed for the observation and the contemplation of the loss of the present time.
Looking towards the course of the moment in every space, every captured item until its implied end, I drew near to an impossible mourning ritual from the elaboration to the presentation of my realizations.
Playing over and over again the passing of moments I did conjugate living and dying at the same time.

I decided now to capture these instants in another gesture.
Closest to the shake of my gaze and hand living that present time, the practice of this performative doing in my action of filming is a simple gesture, like for some artists in an essential process of improvisation.
I aim to reveal an emotional quake, the memory of my body now facing a moment existing only once.
These sequences always get the duration of the original captation, their titles are their duration.
From a landscape painter’s way of framing, I moved into an embedded motion in these framed sequences of time.
The time code as a countdown which was the subject of my work still displays but now off-camera: the details, the bodies in dual movements – mine and theirs – slowly replaced it.