For several years, my initial skills as an editor have shifted towards other practices. I have indeed experimented with the field of film direction with the production of short fiction films (with Pater Duis, 2014 and Drôle d'endroit pour un canari , 2015), documentaries ( Zootropie , 2016) and experimental films ( Eye did Eye , 2017 and Land 78, postmodern , 2018). Through these last two films and a practice of split-screen, I question the "point of view" by splitting the field of vision, by telescoping looks and scales of perception.

At the same time, I developed my photographic practice, experimenting with photomontage (another line of research on points of view) and learning film photography. I exhibited Bruissements (an intuitive composition of photo series around movements and frozen moments) in several cultural locations in Lille. I also started documenting the territories during my travels. I am thus feeding a personal base of photographic archives that bear witness to certain localities, particularly on the coast, and which also focuses on heritage (architectural, industrial and cultural).

This is how the themes that emerge from these different artistic researches (questioning about narration, working from pre-existing materials, naturalist approach with a concern for representation and invocation and evocation of the imagery of natural sciences) come to crystallize around new projects: a cinematographic transposition of dreams and a photographic research on ipseity .

This new research joins my heterocentric approach, which is part of the social space, based on the experience of the human, of exchange and of transmission. The human relations during my various artistic projects and school interventions reflect the place that I give to the social and pedagogical dimension around creation.