I was born in Gevrey-Chambertin (Bourgogne) in 1960, the daughter of a businessman father and a wardrobe mistress mother, the second in a family of six children. Owing to my father’s profession, I lived all over France as I grew up. I live today in Normandy, where my family finally settled down in 1975.
I had the good fortune to have a mother with a deeply developed artistic sense. Since she was both a painter and costume designer, the house was always full of her art. Paintings, easels, tubes of paint, and brushes were omnipresent throughout the dwelling, wherever we happened to live. She bequeathed to me several of her passions, including gold-thread embroidery and painting.
I worked for around twenty years as a Registered Nurse, which brought me into contact with my future husband Pierre, who was a physical therapist, an osteopath, and a Taī Ji Quan/Qi Gong instructor. We married in 1984, and our daughter Marie-Charlotte was born a couple of years later.
I had a very successful professional career, being eventually hired as Director of a local nursing home, then promoted to Regional Director and finally to the top group of executives of the whole company, one of the most important in its branch in France.
My professional activity was abruptly brought to an end three years ago for reasons of health. Encouraged by my team of doctors, I immersed myself in theater, helping me to regain confidence in myself and opening the door to an artistic environment that I had neglected during the long years of work in the nursing home profession.
I had always enjoyed painting, and during this period I began to feel the need to use painting as a means of expression, and this is how the collection “Echoes” was born. I rediscovered with my painting a sense of well-being and creative energy that has been a kind of salvation in a dark time.
I quickly set aside my brush, because I found it frustrating not to feel the paint and canvas under my touch. I experimented with different techniques for two years and now only paint with my hands, fingers, and fingernails, working with acrylic paint.
I paint while listening to music, and my technique is subjected to its rhythm. All my work is based on movement and a compulsion to bring colors to the fore. I work in different formats, but it is the large canvases that bring me the most satisfaction (32 X 48 / 42 X 58), because the larger the canvas is, the deeper and more interesting the movement becomes. I place my canvas on the ground and move around it on my knees.
My painting is abstract and my creativity in synch with my emotions. It is always my emotion that guides my movements when I paint, and it is the driving force behind my work today. I feel great pleasure when someone looks at my canvas and feels my emotion. . .
One day, missing the pleasure of embroidering, I experimented with sewing tiny glass beads onto the canvas when my painting was finished, developing the colors of the beads as I had those of my painting. I began by sewing just a few dozen beads and finished, today, with paintings that contain thousands of them (the largest having more than 20,000). For certain paintings, the beads are sewn on one by one in order to produce the desired visual effect, requiring me to spend up to five months on a single painting! I am often asked why I subject myself to this incredibly painstaking work, when I could simply glue the pearls on. The answer is simple: my goal is to achieve the effect I am seeking while assuring that the complete set of pearls stand the test of time. Moreover, sewing the pearls on allows me to place them securely on parts of the painting that are in relief and to be in a quasi-meditative state, outside time, during this activity.
In the course of my work, I enjoy experimenting with materials that are out of the ordinary in the world of painting. I may, for instance, mix on my color palette different types of glitter, bread flour, powdered sugar, brown sugar, or sand.
In 2020 my works will be exhibited at the International Salon of Contemporary Art at the Porte de Versailles in Paris and in Monaco, as well as at the Salon of Independent Artists at the Grand Palais in Paris, at the Carrousel of the Louvre Museum, at the Demarez Gallery and Gallery 60 in Giverny, at the Salon ArtExpo in New York, and at the Roz and Winkler Gallery in Barbizon.
My technique always provokes many questions, and many visitors are moved by the emotions they experience in examining my paintings (and this is very important to me). Through the colors and brightness of my works, I attempt to bring a touch of enchantment and magic to an often somber reality. . .