I was born in 1991 in Minas Gerais, a large inland state of southeastern Brazil, known for it’s former

colonial towns built during the 18 th century during a gold rush.

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Currently living in Montpellier (France), I draw and paint in a singular way. I started creating when I was

about 5. My first meaningful artistic influence came when I was 14, from New Hollywood movies.

Watching those films was a major aesthetic startle to me as their work was thematically complex, cutting

edge in their format, morally ambiguous and had a strong mythical touch to them. The New Hollywood

era saw the birth of some of the greatest directors and masterpieces in the history of cinema where

immorality and extreme violence, up to then censored by the Hays Code, mingle in dark and hopeless

tales. Ambiguity, the realistic vision of individuals and their problems, the willingness to explore the

depths of the human soul and the use of antiheroes all stand out in my pictorial work.

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Graduated from University Paul Valery III in Montpellier and holding a master’s degree in contemporary

visual arts, I teach academic drawing in a higher-education private design school in Montpellier (ESDAC). I

also run oil painting courses at Atelier Mo in Montpellier. My personal artistic practice comes naturally on

a daily basis. I feel artistic creation as a strong conviction, a passion. For a few years, I’ve also been

exploring photography and video. Jan Van Eyck, Edvard Munch, Vilhelm Hammershoi, Edouard Manet,

Vermeer, Rembrandt, Caravage & Raphaël are major influences in my work. I also read poetry, especially

from the latter half of the 19th century (Rimbaud-Baudelaire-Verlaine-Sully Prudhomme). I develop the

“silent painting” concept using oil painting.

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The notion of “silent” painting is an attempt to materialise silence through a medium that appeared

during the XVth century. The aim is to develop a combination of aesthetic choices to generate a

stagnating atmosphere where time seems frozen. It features a limited colour palette, contemporary ruins

echoing a human’s mental space and lifeless objects such as automatons, dummies and wax models.

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The combination of these different elements tends towards Freud's 1919 theory of “The uncanny”.

Indeed silent painting is a structure created in order to account for the depth of the human soul. The

uncanny, what is stranger to us, unfamiliar can also refer to what is hidden deep down inside. My work is

somewhat similar to a human psyche autopsy – Silence as an acoustic status, silence as meditation,

silence as pain. Painting as a means of expression, painting as a conviction, painting as a passion.