Materials, patinas, decorative coatings, embossed coatings, aged waxed plaster
Effects and Patinas

It was necessary to position the precise locations and spaces of the numbered panels. A thickened paint was combed vertically to give a weave, a fibre, before the general gradation was created.
Palma

The principle of leaving a pre-cut and self-adhesive support under the paint and patinas, leaves enough relief to give the illusion of a leather or paper that has been embossed under a hot press as it should be.
CARON shop, Paris 8ème

Ay-Champagne near Epernay

Peyre-Lebade in the Médoc

Paris 16éme.

Here is the creation of a long elongated brick wall. To meet customer demand with this particular format, i had to create a template that was used to make all the prints brick by brick. As in masonry, it was necessary to make the joints before painting in matt white.
Rue de Grenelle, Paris 6ème

Here are circular shades of gold tone bronze powder on a sandblasted pattern by Gilles Chabrier, glass sculptor. This principle of transparency must be done so that the golden surface is visually predominant and the most illuminated. To keep this effect, the back should be dark enough and should not receive the sun or too strong lighting.

Annecy

In the heart of Paris, this living room overlooks a beautiful garden with a terrace and a wall of water. It was natural to bring a plant introduction to this place. The principle of entanglement of contemporary branches has been retained. The contrast of the mat patina and the metallic shine of the branches gives perpetually changing reflections when moving in front of or depending on the lighting and the weather.
The "veined white" type marble fireplace deserved to be highlighted. A peelable varnish was applied in the first layer in order to preserve the support intact and so that it can be easily removed in the future. This technique allows to give all the desired colors without altering or needing to strip the original marble.
Bank, Paris

MACÁN Bodega, Samaniego in Spain

Bank, Paris

Le Mont d'Arbois, Megève

Bank, Tel Aviv

Switzerland

Bank, PARIS 8th

Caudebec en Caux, Normandy

Bank, PARIS 8th

Boulevard St Germain, Paris

Switzerland

Switzerland

Switzerland

Switzerland


Bank, Paris 8ème

Bank, Switzerland

58 rue de Lille, Paris 7ème

58 rue de Lille, Paris 7ème

Bank, Paris 8ème

Rue du Château, Marolles en Hurepoix in Essonne.

EdR Rue de Hesse, Geneva, Switzerland

Saint Michel sur Orge in Essonne

The Club House of Mont D'Arbois, Megève in Haute Savoie

Villa Poirier Paris 15th arrondissement

Villa Poirier Paris 15th arrondissement

Château Clarke in the Médoc

Marolles in Hurepoix, in Essonne (91)

Chalet du Mont d'Arbois, Megève

Paris 8th

Varennes Jarcy (91)

Villiers sur orge in Essonne (91)

The walls are talched, sanded and then patinated in a "whitewash" style, then raised by large, more sustained frames. For finishing dark nets and bleached selvedges around the frames. It should be noted that the radiators have received thickened paints instead of the effect given by the plaster.
Mont d'Arbois, Megève

Bathroom, with a density of pebbles that intensifies downward until it reaches the floor laid by the tilesetters. Real sand was glued between the rollers on all the walls including the radiator. A piece of ferrugem slate (from the shower cubicle) was attached to the centre of the radiator. The shell on the mirror was designed by me.
Mont d'Arbois, Megève

Children's room with bunk beds and alternating dark woods and shaded orange-yellow patinas on the walls. On the top of the walls we will find silhouettes of trees, mountains, etc.... The cupboard doors are painted with slate, a painting imitating slate that allows to draw with chalk and then wipe.
Mont d'Arbois, Megève

Here is a set of plum/light grey colour contrasts for this entrance, living room and dining room set. A brushed effect with a blade imprint for the plum colour and a relief combing effect for the light grey, all enhanced by the installation of gilded leaves in pieces on the doors, wall and library.
Rue Parmentier in Neuilly sur Seine

In this wave bathroom (real marble), realization of a patina combed in relief then degraded in the blues/water green. Glued sand patterns were applied using stencils created by me. These come out of the wall of about 3mm, are very hard and despite the glue have kept the real color of the sand.
Paris 8th

Creation in a dining room of a degraded patina in green tones over the entire height of the walls. Cutting and collage of old Spanish theatre sets painted in gouache on kraft paper from the 1920s. Old window: realization on canvas of a trellis and a gradient background, all glued to the back of the window FACE painting.
Rue du Cirque, Paris 8e