Pop Art

Swiss Chocolate

Oil on can­vas — 84x200cm — 2021

Swiss chocol­ate with mul­tiple har­mon­ic sym­bol­ism: Diversity of col­ours in the unity of form. Diversity of fla­vours in the unity of cocoa. Diversity of can­tons in the unity of the con­sti­tu­tion. Diversity of ori­gins, races, iden­tit­ies and lan­guages in the unity of nation­al­ity. Diversity of power in the unity of decision. Diversity of opin­ion in the unity of con­sensus. Diversity of faiths in the unity of the cross.

Edible Flower

Oil on board — 122cm — 2017

A green salad awakens our appet­ite. But a mul­ti­col­oured salad con­fuses our per­cep­tion, cuts off our appet­ite and makes us see anoth­er real­ity. The semant­ic rela­tion­ship between the object and its nat­ur­al col­our makes us recog­nize it. This recog­ni­tion is dis­turbed when the nat­ur­al col­our is changed.

Organic Strawberry

Oil on wood — 120x120cm — 2019

The straw­berry sym­bol­izes our rela­tion­ship to food. We have moved away from nature to build a sterile and arti­fi­cial world. Our mind has moved away from our own nature to build a sterile and arti­fi­cial world of thoughts. Our con­cep­tion of what is nat­ur­al is based on our arti­fi­cial view of life. This is why a straw­berry today, how­ever organ­ic it may be, is arti­fi­cial com­pared to its ancest­or the wild strawberry.

Healthy Food

Oil on wood — 122x125cm — 2019

Man has been manip­u­lat­ing nature for cen­tur­ies, and today’s food, no mat­ter how organ­ic, is already trans­formed from its ori­gin­al state. Yet it seems nat­ur­al to us. In this logic, tomor­row’s food, ever more arti­fi­cial, will appear nat­ur­al to its con­tem­por­ar­ies. And we will not hes­it­ate to eat a blue ham­burger as we find it appetizing.

Nirvana Hamburger

Oil on wood — 200x100cm — 2019

Liv­ing in the wild, we found it dif­fi­cult to find our food by hunt­ing and farm­ing. It was scarce, but nat­ur­al. Liv­ing in an arti­fi­cial world, we could eas­ily find our food by buy­ing it. It is abund­ant, but arti­fi­cial. Abund­ance and its corol­lary arti­fi­ci­al­ity are the alpha and the omega of our mod­ern rela­tion­ship to food.

Good Soup & Tasty Sandwich

Oil on board — 123cm — 2017 | Oil on board — 52x184cm — 2014

Through sexu­al­ity, fash­ion or advert­ising, the woman’s body is used, con­sumed and then thrown into obli­vi­on. Bar­bie’s etern­al smile rep­res­ents a form of uncon­scious assent that par­ti­cip­ates in this exploitation.

Fridge Door

Oil on can­vas — 81x54cm — 2012

A fridge door is some­thing that we open twenty times a day without look­ing at it, busy as we are con­tem­plat­ing the inside of the fridge. At first glance, the sur­real­ist irrup­tion of incon­gru­ous ele­ments does not change the appear­ance of this door, but trans­forms a banal and func­tion­al object into a world of fantasy and mystery.

Bang!

Oil on can­vas — 184x184cm — 2014

The sur­prise gift pos­sesses high cent­ri­fu­gal and cent­ri­pet­al force at a high degree of intensity.At first, its vis­ible con­tain­er is so dazzlingly beau­ti­ful that it makes us for­get its con­tents. In a second time, its invis­ible con­tent is so mys­ter­i­ous that it makes us for­get its con­tain­er, which is torn and thrown into obli­vi­on, even though its con­tent could be dis­ap­point­ing com­pared to its container.

Made in China

Oil on can­vas — 100cm — 2011

Made in China rep­res­ents the China of dragons, man­dar­ins and the For­bid­den City, con­ver­ted into mass indus­tri­al power. The Chinese dragon, dead, in a can, repro­duced in bil­lions of cop­ies, is the fallen memory of ancient China in mod­ern China.

Unidentifiable Object

Oil on can­vas — 100cm — 2013

A non-iden­ti­fi­able object should not be con­fused with an uniden­ti­fied object. In the first case, it is impossible to define the object, in the oth­er it is the oppos­ite. A nipple, or a but­ton, or a pig, or a bal­loon, or all of these at once, make an non-iden­ti­fi­able object. It is not a ques­tion of ask­ing what the object is in real­ity, but of accept­ing the real­ity of the object without ask­ing what it is.

Confœderatio Helvetica

Oil on can­vas — 100x230cm — 2015

A coun­try issu­ing a bil­lion bill is a ruined coun­try. When its devel­op­ment comes to a halt, it with­draws into itself, revert­ing by force of cir­cum­stance to its fun­da­ment­als and its nat­ur­al resources, if any. The dwarf rep­res­ents the Swiss. He lives on a heap of gold and cuts pre­cious stones. He jeal­ously guards his treas­ures and the key to his safe nev­er leaves him. He does not like to be dis­turbed and lets it be known promptly. King on his moun­tain, he watches over his loneli­ness fiercely.

One Million Dollars Banknote

Oil on can­vas — 100x230cm — 2010

If the United States of Amer­ica were to issue a mil­lion dol­lar note, it would be the sign of their ruin. The Amer­ic­an dream of free­dom, prosper­ity and enjoy­ment is sym­bol­ised by the piggy bank in the middle of a party, in an abund­ance of food and stream­ers. The dream, like soap bubbles, always fades away even­tu­ally. And the desire for enjoy­ment remains alone, hungry and point­less, like a sol­it­ary den­ture, which is made to eat but cannot.

One Cent (“E Pluribus Unum”)

oil on board — 30cm — 2018

E pluribus unum is a motto that para­dox­ic­ally applies to the United States of Amer­ica. The people are filled by a strong pat­ri­ot­ic sense of a unique iden­tity that truly makes them: “One from many”. But indi­vidu­al­ism pos­sesses this same people and irre­medi­ably divides it: indi­vidu­al against indi­vidu­al, indi­vidu­al against com­munity, opin­ion against opin­ion, race against race, and reverses the motto: “Many from one”.