Born in 1973 on the ends of the world, I have always been fascinated by the Middle Ages. For a long time, my interest was limited to acquiring book knowledge on the subject.
I discovered calligraphy almost by chance in 1993 during a workshop with Keith & Amanda Adams and was immediately hooked.
Since then, I have regularly taken classes with Keith and Amanda as well as with other professional calligraphers.
Having decided to share my passion, I started my own business in 2008 and, since then, have been teaching classes in France and abroad. I work exclusively in Latin calligraphy with a preference for illegible scripts, even though I have mastered most of the major historical scripts up through the Renaissance.
I have a number of obsessions: filigree initials, abbreviations, white vine, and Celtic interlacing—and I try to pass on my immoderate taste for these techniques to my students.
As an avid reader, I find most of the texts I calligraph in the books on my bookshelf. I place great importance on the message and try, as much as possible, to calligraph the original version, turning to a translation only when the original language does not use the Latin alphabet.
Most of my compositions are modern, even though they are created using techniques that have existed for centuries; however, I also practice copying manuscripts or creating compositions in the manner of the Middle Ages.
I sometimes set aside paper and parchment in favor of other media, such as stone or metal, which allow me to experiment differently with materials and scripts.
When I work on a piece, I seek to achieve harmony between the text and the composition. The choice of scripts and layout often stems directly from the feelings I experience when reading the text. Once the composition reflects the spirit of the text, legibility is no longer an absolute requirement; the aesthetic emotion conveyed by the composition substitutes for that evoked by reading the text.