ABOUT

Using various 3D software, I create films that reflect on the medium itself. There is always a playful interaction with the software—a play that aims to shift the digital tools, pushing the boundaries of traditional productions, toward a more rugged and unstable terrain.

The 3D world is a digital sandbox where every element is customizable. This vast array of possibilities fascinates me and is a central theme in my work. I always incorporate some form of instability into my films. I’m drawn to the idea that everything can change, or that characters can exist in a state of flux.

My worlds take shape through experimentation, and I rarely know from the outset what they will look like. These universes don’t aim to mimic reality but rather to assert their identity as 3D objects. Their essence is, by nature, a simulacrum—like the 3D tree on the screen, which is no different from any other object in the scene, merely numbers (0-1). I believe this emptiness is so profound for us that we attempt to mask it with an exaggerated illusion of matter. The 3D object tries to appear more real than the real world.

In part, my universes resemble those of video games. I draw inspiration from this imaginary realm, focusing on their structures and the way they are designed. Their capacity for interpretation fascinates me. The creativity involved in representing objects within these worlds leads me to metaphysical reflections and inspires the creation of the diverse mythologies featured in my films.

BIO

Following a preparatory course in Visual Arts, I joined Villa Arson (the National School of Art in Nice), where I quickly oriented myself toward digital practices. During these five years, I experimented with various software, leading me to create video and interactive works. 3D rapidly became my primary area of research.

After completing my DNAP in 2016, I participated in an exchange program at OFFSHORE school in Shanghai, directed by Paul Devautour. This experience within a Chinese megacity, along with the research conducted with Paul, greatly influenced my work.

I obtained my DNSEP in 2019 and decided to deepen my technical knowledge in 3D by enrolling at EMCA in Angoulême (the School of Animation Cinema). During this time, I took technical and cinematic courses. I produced three films, including Prostostase, which was selected for several animation festivals, notably the Annecy Festival. In the meantime, I worked on various projects with the artist Bertrand Dezoteux. I earned my master’s degree in 3D animation in 2021.

I am currently working on my fourth film.