As far as I can remember, I always draw, painted, covered papers (and occasionally tables,walls and other people's belongings...) with lines getting out of my mind.

  Years went by, I spent most of my time being trained as a classical singer, and a singer generally speaking – and traveling everywhere and anytime I could. Drawing and painting never left me, I just stored this side of myself in a more quiet part of my head, for you can keep all the components of your soul alive during your entire existence, but it is not always possible to let them speak equally loud all at once. So I let music at the head of my way, and the rest followed.

  Then it happened to be time to get out of this path, and I suddenly exit the road, exit the path, exit everything. I left Berlin, left the cities, left any kind of roof and walls….and spent over a year traveling into the wild with my horse Vasco and later, my dog Azul. Through this period of wander and loneliness, I let all the room to those other sides of myself to take the lead. I didn’t started to paint while traveling, but this journey into the world and my own mind brought the material of my inspiration up to the surface. When I finally stopped, in a cabin lost in the Pyrénées mountains, close to the Spanish border, the designs, the colors, the characters of my artwork, came naturally, emerged by themselves on the wood.

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  The interest in Haida art, culture and mythology also came quite instinctively. Spending so much time away from human societies connected me deeply to another essence of the world – in which there is no words, no familiar arbitrary categories of living beings. Just a complex pattern of lives with different languages and shapes but animated by the same essential, fondamental motion.

  The visual representation of this awareness of the world as a stream of lives and souls imbricated in one another, instead of the traditional fragmentation scheme offered by western civilization, appeared to me particularly evocative in animist and totemic cultures. I remain a science and philosophy enthusiast as well as a deep core atheist, and reject any kind of narrow mystical analyse of the world, but I recognize my own sensitivity in the way Haida culture represent the word and the presence of all living creatures in it, including humans, inside this pattern rather than on top of it, artificially detached from a world at their disposal.

  I respectfully get my inspiration from the Haida, and keep on learning as much as I can about their culture. I refuse the usual western appropriation of native art. As any artist, I walk my own path but also learn and base myself on discovery, imagery and sensibility coming from people before me. Art, like science, philosophy and any form of knowledge about the world, builds up itself on the heritage coming from human minds who looked at the universe with the same questions, and with the same amazement.