Work


  • La représentation de la femme dans la société est depuis les années 60 le sujet principal de mon travail. De même les injustices sociales, les événements socio-politiques font partie de mes démarches pour lesquelles je mets en œuvre des moyens stylistiques appropriés.
    C’est ainsi que j’essaie de traduire les désastres écologiques par des « natures mortes ». Je me réfère au « memento mori » de la peinture néerlandaise du 17e siècle où le gibier, les poissons et les insectes morts symbolisent l’éphémère, la fragilité, la vanité.
    A notre époque ils ne représentent plus, ils font partie de la triste réalité des désastres écologiques causés par notre génération.


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  • WOMEN MARCHING, 2017-2018, oil on canvas, 1,55, x 7 m.

    The title refers to the Paris women’s march to Versailles in 1789, their rallying slogan being “We want bread”! Initiated by the women of Québec (200) a world-wide march protesting the poverty and violence they have to endure was launched. Similar marches took place in the US (2017 and 2018).
    As I see it this march is a solemn one: These women are not begging, but, standing for half of humanity, they proudly claim their rights.
    The women I show come from various continents and countries, seen in their specific context and traditional garb.
    As with my previous work (“The Shout” and “The Onlookers”) the written word has been integrated. No press cuttings this time but elements of factual analysis and statistics which are meant to be part of the pictorial body.
    Thirty-five women are grouped together here. Thus via their physical presence I hope to give their claims more clout.


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  • JE EST UN(E AUTRE

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  • OEUVRES SUR PAPIER

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  • As opposed to the back of persons contemplating the nature of the Romantic painter Caspar David Friedrich, I show “spectators” scrutinizing information distilled by the media. This is in fact what happened in the months of June, July, August, October, November and December 2013. The choice of newspapers is limited to sets available in Luxembourg and selection as annotations reflect subjective concerns. When I designed my work I had no idea of the catastrophic events that would occur during these six months of 2013. So the two paintings became a call against oblivion! The “real actors” are hidden, this is the function of the red curtain. In fact, who are they and what are the real issues?



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  • The Codex Aureus Epternacensis is a gospel book created at the Benedictine Abbey of Echternach, Luxembourg, founded by an Northumbrian monk in the seventh century. It was purchased by Duke Ernest II, Sachsen-Cobourg in the wake of the French Revolution, and later, 1955 sold to the Germanicum Museum of Nürnberg, where it is currently on show. Being myself of Luxembourg nationality I made so bold as to re-appropriate the popular iconography of this magnificent book, in order to promote women's rights. Thus I made the Majestic Angel, and his scribes, the prophets Ezekiel and Daniel, displaying the Gospel of St Matthew, become the heralds of a more unexpected message, without being detrimental to the miniaturists' craft, their decorative inventiveness and their skilful assimilation of previous, Byzantine iconography. The scribes' bent position betrays their unshakeable faith in their toilsome craft.



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On the Luxembourg City publicity pillars


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Galerie Toxic, Luxembourg


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  • The present exhibition gives me the opportunity of investigating the ideologies of power. This is why Christian ideology is being re-shaped in the dyptic "Gated Community", hence the predella informs against those slums spreading around large urban agglomerations. If the traditional retable points to those values that may hint at something beyond, I firmly settle down within the here and now, trying to establish a link with contemporary thought , giving up traditional metaphysics and thus any belief with an inherent idea of redemption to it. Life comes first, death only second, that is what counts, in the long run. Through my work I point out an evident truth: Money reigns supreme. "Magritte Reloaded" is an ironic appropriation of Magritte's painting "Golconda" and shows those finance virtuosi who have got hold of our world."Woman on cross" makes the visitor provide and draw his own interpretation and conclusion, the same goes for the second painting. With the series "The Different Portrait" I reconsider the art of the portrait, giving up a complete representation and relying on the rhetorical device of the "pars pro toto". Attitudes as well as accessories are being used, thereby allowing psychological analysis to fade away, thus pointing out forms of social behaviour.

Galerie op der Kap, Capellen, Luxembourg


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Kulturfabrik, Esch/Alzette, Luxembourg


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Abbaye de Neumünster, Luxembourg


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Galerie Toxic, Luxembourg


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Galerie Toxic, Luxembourg


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Paris


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Galerie Toxic, Luxembourg


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Paris

With the nude I try to tackle a topic firmly established in art. I should like to firmly emphasize that I do not view the naked female form as an object to be desired or on exhibition. To me it is the expression of womanhood gratified, at peace with itself and the world. The signified in my work allows for classical motifs, such as the “Garden of Delights” or the “Pastoral”, to be either distorted or recomposed.

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Galerie d'Art du Théâtre d'Esch-sur-Alzette, Luxembourg


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Messehalle, Luxembourg


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Mannheim, Deutschland


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