FLUOR

I’m actually a full-time crypto-artist for the past two years, allowing me to engage in
a deep search and reflection on the new modes of the Art market,
particularly its digital art diffusion and linked to the democratization of
decentralized Web3 and blockchain.

About my relation to art:

During these years of experimentation, I have developed several styles that
have become my signature with varied but homogeneous graphic styles.
I hope to bring something that is not often seen and that is a pure representation of
my perception of the world and his future in a certain poetic way.

The synthesis of these research is a balanced mixture of futuristic
industrial pop and psychedelic cartoon, which takes up certain graphic codes
from the old worldwhile making. But a fresh and wild one, an uncompromising proposal.

In order to perfect it to the limits with the help of new tools such as
artificial intelligence, combining technical know-how and philosophical knowledge,
and which is the lifeblood of my entire reflection around the ethics,
messages, and deep role of art in our globalized culture.
Thus inviting the observer, the art consumer, to evolve their perspective on
the future of a hyper-connected world,
of an augmented reality or even consciousness in which new generations will need to
know how to maintain control over their identity and mental integrity.

About my journey:

When I was 20, I was in charge of group vacations for children and teenagers.
I quickly decided to take care of disabled children and adults such as those
with autism and Down syndrome.
This was one of the most enriching periods on a human level,
where I was able to deepen the psychological relationships
by discovering new links between perception and emotions.

Then after this short period, I became a stone carver and sculptor
and worked for more than 15 years on many historical sites
such as churches or cathedrals.
This was my most physical approach to the material world,
where I understood patience and introspection,
meticulousness, love of the craft, but also physical suffering,
the relationship with the material, and the satisfaction of creating something lasting.

In the early 2000s, I participated in several local contemporary art exhibitions
and even organized some, bringing together emerging artists from all over France.
I had a great interest in bringing art where it was lacking in order to offer a cultural
approach to people who did not have access to it in an obvious way.

I also worked as an artist on different projects such as scenography
for gothic rock concerts (being a big fan of The Cure),
but also for techno parties and festivals,
Starting in 1994 when I discovered, coming from England for the first time,
the work of Aphex Twin, LFO, and Autechre,
and then the entire rave and club scene (Orbital, Ritchie Hawtin, and many others).

In short:

A life filled with all kinds of artistic craftingthat
would be difficult to fully detail in this summary.
So I feel very lucky and grateful to have been able to live these
multiple experiences, because they are now an integral part of my conception
of the world and of what I seek to bring forth in my work:
A manifesto for freedom that would be a kind of testament to this heritage…

A sort of technological utopia for some, stained with inevitability of course,
but which lays the fundamental foundations of our future values,
of what we are, and of the adaptive responses that will have to be made
in order to preserve this common heart line of which we are all the temporary holders,
and which some call faith in humanity.»