Strongly influenced by the Dadaist heritage, he has never stopped testing the stereotypes of a so-called academy. His first two exhibitions at the Galerie Du Château de Servières in Marseille in 1992 and 1993 deconstructed the secular technique of engraving to submit it to a process of hybridization. The result is an intermingling of figures, traces, and textures that question the notion of plastic space and its problematic relationship to time. The practice of teaching art that he began in 1992 at the Institute was an opportunity to engage in incessant didactic experiments where the playful instinct never ceased to compose with the theoretical requirements. He never ceased to solicit his students to draw on the reservoir of sensations, images and affects of their early childhood to invest them in their creative endeavors. His three personal exhibitions, “the underside of the erasures” 2014, “Maculated conception” 2016, and “Archipelagos of ink” 2018 are efflorescence of a debt that he owes to the child snoop that he was, a child on the lookout for all the figurative or scriptural events that live or survive at the flower of paper. In his painting, fauna and flora hatch between or from the interstices of a handwritten script that sacrifices its readability for the benefit of a world promised but never given.