The Soul 1
Faience - pigments and oxides - gilded with 24-carat gold leaf - 43x15 - 2014

The soul as a matrix or vital impulse is dual: it is matter and light, on earth and in Heaven. The soul is also generative and creative, a festival of closure and opening. Souls vary in height and openness. Soul 1 is the most mysterious and subtly revealed.

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Soul 2 
(Faience - pigments and oxides - gilded with 18-carat gold leaf - 48x20 - 2018) 

The soul becomes more enveloping, welcoming, more feminine. With a wider opening, the soul uncovers itself, generous, attractive, and confident, a reference in a way to the maternal soul.

Soul 3 

(Faience - pigments and oxides - gilded with 18-carat gold leaf - 55x25 - 2018) The fruit of Souls 1 and 2, Soul 3 with its height and larger dimensions imposes its vertical and luminous strength. Drawn towards the sky, it differs from Souls 1 and 2 by the bluish reflections of its external surface. From earth and unified heaven arise joyful strength and vital confidence.

The Blue Soul 3
faience - Prussian blue pigments - gilded with 18-carat gold leaf - 46x21 - 2023

 The Blue Soul 3
Faience - Prussian blue pigments - gilded with 18-carat gold leaf - 46x21 - 2023

The soul , the passage 

Faience, gilded with 23-carat gold leaf, 39x15,5, 2024

"The soul of the world, like a violent Hope"

Faience gilded with 18-carat gold leaf, 36x17,5x1,8 - 2025

The forest soul

Faience gilded with 23 carat gold leaves - 38x19, 2024

Faience- pigments - gilded with  18-carat gold leave - 50x23x16 -2021

“Moonlight one evening on the Nile... to Eternal Life”

S.R. Lunar star, a feminine symbol of water, fertility, fecundity, and the periodic renewal of cyclical life. The Yin energy of the moon facing the Yang sun, source of life and light. Correspondence of the moon to the sun, of the spirit to the soul, of essence to substance, of the feminine to the masculine, from water to earth in the air up to fire. At the heart of the four elements, the Ankh cross, or Anok meaning Life, in other words eternal life and "I am" in Egyptian. In Coptic, in the Semitic liturgical language descending from ancient Egyptian, the term Anokh is also present. Likewise, Biblical Hebrew contains the term anokky in the Decalogue. Anokh and Anokky mean "I am God" and therefore "I am eternal."

Faience, pigments, gilded with  23 carats - 50x23x16 - 2021

“On the night of September 1st, 2020, the eve of my meeting with a high Christian authority, my heart exploded in my chest. It was 2:20 a.m. I woke up suddenly and felt strongly the rapid and violent beats of my heart pounding like a drum in my chest. This experience, lived in my sanctuary, followed evenings of prayer, decided to set me on my path. I received the sacrament of confirmation, the gift of the Holy Spirit, on June 20, 2020.” — Sophie Renoir

On the night of September 1, 2020, on the eve of my meeting with a high-ranking Catholic authority, my heart seemed to explode in my chest. It was 2:20 a.m. I woke up abruptly, strongly feeling the rapid, violent beating of my heart, pounding like a drum inside my chest. This experience, lived in the intimacy of my inner sanctuary, followed evenings of prayer, undertaken with the decision to set out on a spiritual path. I received the sacrament of Confirmation—the gift of the Holy Spirit—on June 20, 2020.

On the night of September 1, 2020, on the eve of my meeting with a high-ranking Catholic authority, my heart seemed to explode in my chest. It was 2:20 a.m. I woke up abruptly, strongly feeling the rapid, violent beating of my heart, pounding like a drum inside my chest. This experience, lived in the intimacy of my inner sanctuary, followed evenings of prayer, undertaken with the decision to set out on a spiritual path. I received the sacrament of Confirmation—the gift of the Holy Spirit—on June 20, 2020.

Faience, prussian blue pigments, gilded with 23-carat gold leave, 
49x40x3 - 2023

Faïence, patina, 23-carat gold leave, 49x40x3 - 2023

Faience, patina, 23-carat gold leave, 
49x40x3 - 2023

Faience, patina, 24-carat gold leave, silk butterflies, linden wood, 49x35x25cm - 2023

Learn to discern the divine spark in everything. Before we can begin to act responsibly towards our Mother Earth, we are called to see the wonder of God in the beauty of Creation. Fragile creation, weakened creation, let us call for the protection of all living species, for a rebirth ... In the colors of Brazil, blue butterflies fly away, in an ascensional way creating the opening in its heart, of a gold and green tree trunk. The work is inspired by the Mata Atlantica, the Brazilian Atlantic forest, the richest in the world in terms of biodiversity. The rate of endemism of its floral and faunal species being very high, it was classified as a UNESCO World Heritage Site i

Faience, pigments, linden wood, silk butterflies, gilded 23-carat gold leave, 
49x40x3 - 2023

Mata Atlantica is a tribute to the lush and mysterious Atlantic Forest, a vibrant ecosystem rich in life and spiritual energy. This sculpture captures the essence of nature’s resilience and the sacred connection between earth and sky. Through delicate forms and natural materials, it evokes the harmony and depth of this unique forest, inviting viewers to reflect on the beauty and fragility of our environmentThe work is inspired by the Mata Atlantica, the Brazilian Atlantic forest, the richest in the world in terms of biodiversity.

Faience, patina, 24-carat gold leave, silk butterflies, linden wood, 49x35x25cm - 2023

Learn to discern the divine spark in everything. Before we can begin to act responsibly towards our Mother Earth, we are called to see the wonder of God in the beauty of Creation. Fragile creation, weakened creation, let us call for the protection of all living species, for a rebirth ... In the colors of Brazil, blue butterflies fly away, in an ascensional way creating the opening in its heart, of a gold and green tree trunk. The work is inspired by the Mata Atlantica, the Brazilian Atlantic forest, the richest in the world in terms of biodiversity. The rate of endemism of its floral and faunal species being very high, it was classified as a UNESCO World Heritage Site in 1

"Graphein"
lithography stone size, print in Prussian blue - 32x26 - 2025

This work explores the concept of writing and drawing as a form of expression that transcends language. It embodies the interplay between visible marks and invisible meanings, capturing the essence of communication through form and texture. "Graphein" invites the viewer to reflect on the origins of signs and the poetic power of graphic expression.

"Graphein"
Lithographie stone size, Prussian bleu printing- 32x26 - 2025)

This work explores the concept of writing and drawing as a form of expression that transcends language. It embodies the interplay between visible marks and invisible meanings, capturing the essence of communication through form and texture. "Graphein" 

"Graphein"
Lithographie stone size, Prussian bleu printing- 32x26 - 2025)

This work explores the concept of writing and drawing as a form of expression that transcends language. It embodies the interplay between visible marks and invisible meanings, capturing the essence of communication through form and texture. "Graphein" 

"Graphein"
(Taille d'une pierre de lithographie, estampe au bleu de Prusse - 32x26 - 2025)

En grec, le sens premier de graphein est "faire des entailles", d'où "graver des caractères", écrire, mais aussi peindre. A priori, dans notre culture, les images sont opposées à l'écriture, elles sont du "non-texte". L'image n'est pas la diction. L'icônique n'est pas le verbal. Pourtant, à l'origine de nombreuses écritures, comme les hiéroglyphes, il y a une double dimension visuelle et graphique. D'une pierre de lithographie où s'entremêlent la taille, le dessin, la peinture, la gravure, émerge des origines et des profondeurs une écriture, 18 lignes d'élan vital et de musique pour une histoire en devenir.

Tables of Emancipation

Sculpture and engraving - faience - pigments and oxydes 
18-carat gold Leaf - 60x22 - 2016

Biblical books with covers engraved with letters from Genesis in Aramaic: the Bible, whose writing of the first books likely began in the 8th century BCE, is first the holy book of the Jews and then of the Christians. In this, it constitutes an inexhaustible treasure to discover for those seeking God but also their own path. An underlying question: from the Judeo-Christian heritage offered to us, which path do we choose? How do we decide to live our faith in action?

Menhir - Coptic verse of Zechariah 

Sculpture and engraving on steatite, 22 x 10 -2018

The Coptic script is elegant and fascinating. It refers to one of the most ancient biblical civilizations of North Africa, present in Egypt and Ethiopia. From ancient times to the present, Ethiopia, a multilingual and multinational country, is one of the oldest and most brilliant written civilizations in Africa. The Ethiopian Orthodox Church is one of the first Christian churches on the African continent.

 Sctone scarving, soapstone, patina, 22.5 carat gold leaf, 37 x 13 - 2023

On the mystery of our destiny as living beings on earth, The Walker, sculpted in green soapstone, walks with his load on his back. Walking in solitude for a return to oneself, to meditate, to feel fully alive. On the path of introspection, like a being in search, the walker in communion with nature, gathers his body, his soul and his spirit. The stone as an incorruptible material is a witness of the origin. In it, the original breath still circulates. To reconnect to oneself, to go down into its depths and to unload. 

The greatest sages have walked all their lives; Socrates in the city, Buddha for 40 years throughout northern India and Jesus through all the roads of Judea and Galilee.

   Stone carving, soapstone, patina, 22.5-carat gold leaf, 37 × 13 - 2023

Exploring the mystery of our destiny as living beings on Earth, The Walker, sculpted in green steatite, moves forward carrying his burden on his back. Walking in solitude becomes a return to oneself—to meditate, to feel fully alive. On the path of introspection, like a being in search, the walker, in communion with nature, brings together body, soul, and spirit. Stone, as an incorruptible material, bears witness to origins; within it still circulates the primordial breath. To reconnect with oneself, to descend into one’s depths, and to release what weighs us down. The greatest sages walked throughout their lives: Socrates within the city, Buddha for forty years across northern India, and Jesus along the roads of Judea and Galilee.

stone carving, stéatite, patina, 22.5-carat gold Leaf
37 × 13 - 2023

Exploring the mystery of our destiny as living beings on Earth, The Walker, sculpted in green steatite, moves forward carrying his burden on his back. Walking in solitude becomes a return to oneself—to meditate, to feel fully alive. On the path of introspection, like a being in search, the walker, in communion with nature, brings together body, soul, and spirit. Stone, as an incorruptible material, bears witness to origins; within it still circulates the primordial breath. To reconnect with oneself, to descend into one’s depths, and to release what weighs us down. The greatest sages walked throughout their lives: Socrates within the city, Buddha for forty years across northern India, and Jesus along the roads of Judea and Galilee.

Sculpture on limestone of Saint-Leu, stone cutting, 20x20,5x34 - 2025

The spiritual call is evoked here through a face turned toward the sky, carved into the very heart of the material. The sculpted recessed effects on the face and, in counterpoint, on the outer surface of the stone respond to one another like a dialogue between intimacy—the spirit—and the physical being—the material. The movement imparted to the stone, together with the treatment of the face on only one side, deepens the mystery of interiority, while the whiteness of the limestone conveys a sense of inner peace.

Sculpture on limestone on Saint-Leu, 20x20,5x34, 2025

The spiritual call is evoked here through a face turned toward the sky, carved into the very heart of the material. The sculpted recessed effects on the face and, in counterpoint, on the outer surface of the stone respond to one another like a dialogue between intimacy—the spirit—and the physical being—the material. The movement imparted to the stone, together with the treatment of the face on only one side, deepens the mystery of interiority, while the whiteness of the limestone conveys a sense of inner peace.

Sculpture on limestone of Saint-Leu, 20 x20,5x 34cm - 2O25

The spiritual call is evoked here through a face turned toward the sky, carved into the very heart of the material. The sculpted recessed effects on the face and, in counterpoint, on the outer surface of the stone respond to one another like a dialogue between intimacy—the spirit—and the physical being—the material. The movement imparted to the stone, together with the treatment of the face on only one side, deepens the mystery of interiority, while the whiteness of the limestone conveys a sense of inner peace.

Sculpture, lauze stone, steel, cut, drilled and oiled stones

23-carat gold leave, 180x120- 2024

Composed of 22 cut, oiled, and gilded lauze stone tiles, suspended in the shape of an hourglass, “Awakening” symbolizes the long passage of time required for spiritual awakening. Within a context of universal harmony between matter and the cosmos, two worlds coexist in parallel: the physical world represented by stone, and our inner world dominated by the Divine, symbolized by emptiness and gold. Matter may appear heavy and burdensome; yet it contains within itself a path toward awakening and liberation. Like abundant rain, the Spirit pours itself out upon matter. “Awakening” evokes the dual duality of God–Human and Spirit–Matter. The work is an invitation to explore matter, to study it in order to discover its source and meaning. Indeed, it is precisely because humankind is bound to matter that it is able to rise spiritually

Sculpture, lauze stone, steel,

cut, drilled and oiled stones, 23-carat gold leave, 180x120-2024

 

Composed of 22 cut, oiled, and gilded lauze stone tiles, suspended in the shape of an hourglass, “Awakening” symbolizes the long passage of time required for spiritual awakening. Within a context of universal harmony between matter and the cosmos, two worlds coexist in parallel: the physical world represented by stone, and our inner world dominated by the Divine, symbolized by emptiness and gold. Matter may appear heavy and burdensome; yet it contains within itself a path toward awakening and liberation. Like abundant rain, the Spirit pours itself out upon matter. “Awakening” evokes the dual duality of God–Human and Spirit–Matter. The work is an invitation to explore matter, to study it in order to discover its source and meaning. Indeed, it is precisely because humankind is bound to matter that it is able to rise spiritually.

Sculpture, lauze stone, steel, cutted, drilled, oiled stones, 23-carat gold leave

180x120 - 2024

Composed of 22 cut, oiled, and gilded lauze stone tiles, suspended in the shape of an hourglass, “Awakening” symbolizes the long passage of time required for spiritual awakening. Within a context of universal harmony between matter and the cosmos, two worlds coexist in parallel: the physical world represented by stone, and our inner world dominated by the Divine, symbolized by emptiness and gold. Matter may appear heavy and burdensome; yet it contains within itself a path toward awakening and liberation. Like abundant rain, the Spirit pours itself out upon matter. “Awakening” evokes the dual duality of God–Human and Spirit–Matter. The work is an invitation to explore matter, to study it in order to discover its source and meaning. Indeed, it is precisely because humankind is bound to matter that it is able to rise spiritually.

Sculpture, pigments, 23-carat gold leave, 37x8,5 cm - 2024

The cedar is a fascinating tree. Deeply rooted in the earth, its crown seems to reach toward the sky. In Lebanon, the cedar is revered and was long coveted by all the civilizations of the Near East for its unique characteristics. Majestic in stature, the tree is a symbol of strength, incorruptibility, and immortality (cedars can live for more than 2,000 years). Mentioned in all three monotheistic religions, the Bible refers to it 105 times, notably as a link between humankind and the Divine. In Lebanon, Maronite Christians gather each year to celebrate it. This work was created for our Lebanese brothers and sisters who are deeply attached to their history and their country, symbolized by the cedar—a precious and sacred tree.

Sculpture, pigments, 23-carat gold leave, 37x8,5 cm - 2024

The cedar is a fascinating tree. Deeply rooted in the earth, its crown seems to reach toward the sky. In Lebanon, the cedar is revered and was long coveted by all the civilizations of the Near East for its unique characteristics. Majestic in stature, the tree is a symbol of strength, incorruptibility, and immortality (cedars can live for more than 2,000 years). Mentioned in all three monotheistic religions, the Bible refers to it 105 times, notably as a link between humankind and the Divine. In Lebanon, Maronite Christians gather each year to celebrate it. This work was created for our Lebanese brothers and sisters who are deeply attached to their history and their country, symbolized by the cedar—a precious and sacred tree.

Sculpture, Terracotta, 23 carat gold leave, 25,5x10 - 2015

lava stone : basalt , 24-carat gold leave,  31x12,5x8 - 2025)
 

An ode to enduring love that transcends time: complicity and intimate fusion between two beings, bonds of eternity.

lava stone : basalt, 24-carats gold leave, 31x12,5x8 - 2025) 

An ode to enduring love that transcends time: complicity and intimate fusion between two beings, bonds of eternity.

lava stone : basalt, 24-carat gold leave, 31x12,5x8 - 2025

An ode to enduring love that transcends time: complicity and intimate fusion between two beings, bonds of eternity.

Sculpture, stone cutting, cellular concrete 39 x 26 - 2019

Three draped women forming a body, wrapped around themselves, enclosed from head to toe in the arabesques of the folds of their veils, vague mysterious silhouettes with hidden faces...sculpted on a white block bringing softness, peace and voluptuousness.

Inspired by a bas-relief from the Temple of Bel in Palmyra, this sculpture refers to the wonderful artistic and architectural wealth that abounded in the 2nd century AD in the heart of the ancient city of Palmyra. This representation, which according to specialists has no equivalent in ancient art, was much talked about at the time of Malraux and the great archaeologists of the time: they did not fail to evoke the contemporary audacity and the beginnings of abstract art. What is certain is that at the time of Palmyra and its splendor, a wind of freedom, peace, non-conformism and multiculturalism was blowing. Everything came together in Palmyra, Aram, Arabia, Persia, Syria, Hellenism, East, West. In 2015, the Daech organization destroyed Palmyra. A whole part of our culture was destroyed. To Palmyra, land of peace, multicultural exchanges and wealth! To the eminent Paul Veyne who devoted a large part of his life to Palmyra and who concludes in his book "Palmyra, The irreplaceable treasure": "Yes, definitely, to know, to want to know only one culture, one's own, is to condemn oneself to live under a blackout".

stone cutting, cellular concrète, 39x26 - 2019

Three draped women forming a single body, wrapped into themselves, enclosed from head to toe within the arabesques of the folds of their veils—vague, mysterious silhouettes with hidden faces—are sculpted from a white block that conveys softness, peace, and sensuality. Inspired by a bas-relief from the Temple of Bel in Palmyra, this sculpture refers to the remarkable artistic and architectural richness that flourished in the heart of the ancient city of Palmyra during the 2nd century AD. According to specialists, this representation has no equivalent in ancient art and sparked much discussion in the time of André Malraux and the great archaeologists of that era, when references were made to modern boldness and the early beginnings of abstract art. What is certain is that in the age of Palmyra and its splendor, a spirit of freedom, peace, nonconformity, and multiculturalism prevailed. Everything converged in Palmyra—Aram, Arabia, Persia, Syria, Hellenism, East and West. In 2015, the organization Daesh destroyed Palmyra. An entire part of our cultural heritage was annihilated. Palmyra, a land of peace, multicultural exchange, and richness. As the eminent Paul Veyne, who devoted a large part of his life to Palmyra, concludes in his work “Palmyra, the Irreplaceable Treasure”: “Yes indeed, to know—and to wish to know—only one culture, one’s own, is to condemn oneself to living under a snuffer.”