Certain images stay with me without my immediately knowing why. A person facing the sea, a bouquet abandoned in a subway station, a shared silence, an almost insignificant posture. I photograph them instinctively, with the feeling that they contain something I do not yet fully understand. Painting is my way of returning to them.
Over time, I have come to understand that what holds my attention is not only what these people are looking at, but the state they enter while looking. A moment when looking becomes the primary action. When someone seems fully available to what surrounds them.
I am not trying to tell a story. What interests me is that almost imperceptible moment when a landscape, a light, a presence or a gesture alters the way we inhabit the world. My figures are often seen from behind, in profile, or with their faces concealed. By keeping their identity in the background, I try to give more space to an experience that anyone can recognise.
I work from my own photographs, taken throughout my travels and everyday life. They are never images to reproduce faithfully, but traces of a moment that caught my attention. Painting allows me to return to them, to slow down time and, sometimes, to understand what made me stop in the first place.
In recent years, the sea has become an essential presence in my work. Yet I am not interested in painting landscape for its own sake. I am more interested in the way certain places transform our presence, slow down our gestures and make us more attentive to the world. More recently, my research has shifted towards what provokes this attention: the way a landscape, a natural force or a place can physically direct our gaze and alter our posture. I paint those moments when looking already becomes a way of inhabiting the world.
2022 – 2025DNSAP, Beaux-Arts de Paris, Tim Eitel’s studio
2019 – 2022DNA, Beaux-Arts de Nantes
2021Korea National University of Arts, exchange programme
2018 – 2019Atelier de Sèvres, foundation year
2025Untitled Miami, Galerie Camille Pouyfaucon, Miami (December)
2026Art Paris, Galerie Camille Pouyfaucon, Paris (April)
Popcorn and Pickles, 68projects by Kornfeld, Berlin (April–June)
Regards au travers des vignes, Duo show, Domaine Deleuze-Rochetin, Uzès (May–September)
Valise Cabine, Galerie Pauline Renard, Lille (June–September)
2025L’Invisible, Galerie Camille Pouyfaucon, Paris (February–March)
I was with a horse with a lip so fat, Spoiler Zone, Berlin (May)
Au bord des choses, Graduation exhibition (DNSAP), Beaux-Arts de Paris
Ce que le temps leur doit, Galerie Audran, Paris, curated by Margaux Balloffet (December)
2024Fragments, Galerie Camille Pouyfaucon, Paris (February–March)
Rhizome, Kunsthal Aarhus, Aarhus, curated by Seolhui Lee (June–September)
From Nature, Whitewall, Paris, curated by Emma Donnersberg, Marion Guggenheim and Nicolas Dewavrin (October)
Avec le vent, leurs masques s’envolent, Recife Project, Paris (October)
Future ArtFair, Galerie Camille Pouyfaucon, New York (May)
Luxembourg Art Week, Galerie Camille Pouyfaucon, Luxembourg (November)
2023Une Chambre à Soi, Duo show, Galerie Camille Pouyfaucon, Paris (February–April)
Bouquet de Mars, Galerie Inlassable, Paris (March)
Après-vous, Maison Fraternelle, Paris (September)
Once Upon a Size, Au Cube Gallery, Mâcon (December)
2022Graduation exhibition (DNA), Beaux-Arts de Nantes
2021Parlem Contemporani?, Convent de les Arts, Alcover (October)
2026ASA Residency, Vienna, Austria (March–June)
Tagli Residency, Stromboli, Italy (July)
2025Weil Gotshal & Manges Prize, Friends of the Beaux-Arts de Paris (June)
Therapeia Residency, Paxos, Greece (September)