My approach is intuitive, related to the subtle world, and conscious. My work may be perceived at several possible levels and even used as a support for meditation. That the paintings sometimes have a considerable influence on a room or on people is mainly explained by the state of my being during creation and also by the method of construction used. I centre myself and meditate on the work  I'm about to create and then, though intuition, the colours are set in motion. These first layers become the energetic basis of the painting and its vibratory message. This is the birth or source of the spirit of the work. Once this basis has been laid, it is then reworked and consolidated in substance. Forms and colour become denser, while I remain deeply connected, and the painting starts to take a certain direction.
The final stage is more figurative and allows a more emotional and visual reading of the work. This is a more technical, finer and more precise stage, a dialogue with matter Here I am more present to my body, my hands, and my eyes, and therefore more connected to the density of our material solidness. Each of these three steps -spirit, soul, and body- is done with a different medium and with powdered pigments. I follow the same steps when I do illustrations, although with different mediums. My paintings are thus a synthesis of all my learnings, both artistic and energetic.

I was born in 1982 in Switzerland and was fortunate in having a childhood full of daydreaming. As I was constantly in my own little world, drawing early on became an important part of my life. The profession I chose, however, was that of a pharmacist's assistant and my artistic path was parallel to my work. My training involved many different courses taken in an artist's studio over a period of a little under ten years. I studied drawing by a method involving the right side of the brain, colour theory, and the basics of painting. Next I copied works by the masters in order to learn different ways of painting.

The next phase of my life was one of exploring myself, of liberation, and of learning methods of pure expression through drawing, painting and Indian ink. I began to develop ways of breathing and of centering on my inner self while creating, especially when using Indian ink. My art came out and blossomed. Other important courses followed, courses in using pigments, in mixed techniques, in oil painting and in illustration of folk and fairy cales.