ABOUT

Using various 3D program, I create films that explore the medium itself. There is always a playful interaction with the software—a play that aims to shift digital tools, pushing the boundaries of traditional productions toward a more rugged and unstable terrain, allowing glitches and usual unwanted artifacts to be part of the narration.

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.

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. Particularly, older video games, with their technical limitations, compelled developers to use very imaginative processes to represent reality without relying on extensive computational power.

For example:

• Lights that are ‘printed’ on walls, instead of acting as real lights.
• Camera culling, where objects not in the viewer’s frame disappear instantly.
• Water represented as just a simple plane, with a video overlay to simulate waves.

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. Over 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, combined 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 period, I took technical and cinematic courses. I produced three films, including Prostostase, which was selected for several animation festivals, notably the Annecy Festival. Concurrently, I worked on various projects with the 3D artist Bertrand Dezoteux and earned my master’s degree in 3D animation in 2021.

After school, in 2022, I directed another experimental movie called Realtà Porosa, which was selected for several festivals.

In 2023-2024, I worked as a Layout Artist on several animation series for Caribara Animation.

After that, I decided to pursue freelance work.