My work explores the tension between order and chaos, structure and erasure, human and machine. Since my first explorations in concrete art in the early 1990s, I have developed a practice that questions the logic of forms and their destiny in the digital age.

Concrete art is the foundation of my approach: a visual grammar based on rigor and universality. This language led me toward algorithmic art, where rules become numerical processes. With the Organica series, I opened this field to instinct and the living, proposing a fluid and sensitive abstraction. Artificial intelligence naturally extends this exploration: it introduces surprise, the unpredictable, and generates images suspended between control and accident.

In parallel, my black-and-white photographs interrogate the very fragility of the image. Rephotographed from screens, they transform generated images into unstable apparitions, marked by grain, blur, and the partial disappearance of the body. Where my color works construct, these images deconstruct. They embody the critical face of my corpus, exposing the precarious and the ephemeral at the heart of the digital.

This critical dimension unfolds into more conceptual projects, and I am currently developing an audiovisual practice. Here I explore the convergence of sound, text, and image. My texts — poetic and surreal — become both visual and sonic matter, just like the photographic grain or the drawn line. This axis opens my work to a total sensory experience: the image becomes a score, the word a rhythm, the sound a space.

My work thus unfolds across three intertwined poles — plastic, critical, and audiovisual. Together, they form a singular trajectory: a path where structure meets the organic, where the machine converses with the hand, and where the image, far from being stable, reveals itself in its fragility and its power of apparition.

My trajectory follows an apparent chronology — from concrete art to algorithmic work, from the organic to AI, from critical black and white to the conceptual and audiovisual. Yet this chronology is not linear: it unfolds like a spiral. Each stage remains open and can be reactivated. Returning to a past form is not repetition, but a re-enactment on another level, enriched by subsequent explorations. My work is thus a living system, circulating between structure and erasure, image and language, human and machine.