I was born in Alger in 1954, the youngest of a family of 4 children. I grew up in the Paris area where I had a happy childhood in a very little practicing Jewish family.
In the lycée, I was passionate about theatre and the Revolution. Introduced to cooking by my mother, I prepared good dishes for the family, and I adored that.
After studying economics in Nanterre, I did different jobs one after the other. A real collection, like Prévert . . .
Maths teacher, a young businessman in London, estate agent, representative and cook of course. At one stage I even painted sailing-boat masts - I who suffer from vertigo!
At 40 I was invited to see an exhibition dedicated to Modigliani, and that’s when things fell into place. I went home and painted everything that came to hand: doors, walls, the floor, with the rage to make up for the lost time and the ambitions to become a great painter.
A first painting prize in Cannes encouraged me, and a few months later I exhibited in a prestigious gallery in Bologna. I became a member of the “Circulo Artistico de Bologna”. At that time I did illustrations for Amnesty International.
In Paris, I organized an exhibition and decided to prepare a cocktail party for a private viewing. That evening I sold a lot of paintings, but I also had a frank success with my cooking.
Nostalgia about the past and a future that hasn’t yet been written. The dream is there, like a breath of oxygen in this world where the ideal no longer has its place. I let myself be carried by the figures I create, without realizing it.
The forms become people, who tell stories. They can follow on in a series of paintings. Sometimes I forget them, but they finish up by knocking on my door.
Rock paintings were my first source of fascination.
I let myself be guided by my hand, like automatic writing, where awareness and unawareness become the motor of my creation.
The juxtaposition of the stroke, the color and sometimes graphite are my lines of thought.
The strokes form lines, known forms and sometimes let themselves get carried away towards imaginary contours.
Geometrical lines organize themselves like a guard-rail on a completely irrational, esoteric or poetic construction.
My paintings are often the fruit of construction, destruction, and reconstruction where each stage leaves a trace as a moment in its history.
I would like my paintings to challenge in silence, and that each person can organise his own questioning.