Original contemporary creations by Phi-Artiste
As a Phi-Artist-Painter, I devote myself to portraiture, landscape painting and still life using oil paints, a technique that allows me to work on minute details and create light and texture effects with exceptional precision and realism.
I seek to capture the essence of reality, not to freeze it, but to make it vibrate. This realistic approach is not a quest for photographic perfection; each brushstroke, each irregular glaze, each shadow that stretches with a slight hesitation betrays the hand that drew it. My works remain faithful to the medium of oil: thick, rebellious, always alive. My paintings invite you to come closer, to scrutinise the traces of the human hand in the details. It is there, in the medium and the gesture, that I leave my mark, in a silent dialogue between the subject and the artist who painted it.
Summer Dream 2025 Collection
The Summer Dream series is a tribute to European car manufacturers and metalworkers, to their sense of aesthetics, lines, and colors. To their extraordinary technical expertise.
The Countach became legendary in Geneva in 1971. The car painted here is the LP400 concept car in its original version, of which 158 examples remain. The futuristic lines of the bodywork guide the painter's brushstrokes, which must capture the tension between mechanical momentum – force – and the graphic purity of the design. It is difficult to represent the radical nature of this automotive design in a composition where lines, reflections and colours find their balance.
‘Diablo’ is a Lamborghini supercar designed around 1990 by stylist and designer Marcello Gandini (1938-2024), creator of most of the models that have left their mark on the brand's history. This car is also a reference to a fighting bull, the Madrid bullring and Ferruccio Lamborghini's keen interest in bullfighting.
‘Golden Whisper’ is, of course, the Porsche 911, a marvel of the automotive industry. Launched at the Frankfurt Motor Show in September 1963, the Porsche 911 quickly became an icon of automotive design. The perspective chosen here emphasises the headlights, which earned it the nickname ‘Frog’ from its owners. The oil technique, with its flexible glazes and deep pigments, captures the variations in light and prolongs the reflections. Here, it recreates the brilliance of the yellow bodywork.
The Countach became legendary in Geneva in 1971. The car painted here is the LP400 concept car in its original version, of which 158 examples remain. The futuristic lines of the bodywork guide the painter's brushstrokes, which must capture the tension between mechanical momentum – force – and the graphic purity of the design. It is difficult to represent the radical nature of this automotive design in a composition where lines, reflections and colours find their balance.
Collection "Origins" 2025
The "Origins series highlights the minimal and fundamental relationship that binds humankind to Nature, as well as the painter’s attempt to make perceptible what comes before, what exceeds us, and what remains — within the simplicity of a material held in tension and of the gaze that lingers upon it. The human figure stands at the center of these dynamics: capable of articulating beauty where the original matrix remains silent. It is an instance of the world’s exhalations, an assemblage subject to the same elemental cycles and the same forces — variations, constraints, collapses, recompositions: a chaos distilled to the scale of the living.”
Portraits: eternity before us
What distinguishes my work as a portrait painter is the combination of a saturated chromatic palette, carefully constructed framing, and particular attention to emotional nuance. In my portraits of children and adults, color becomes a way to stage and illuminate emotion. I also seek to capture moments of intimacy that may seem insignificant at first glance: a game, a walk, a moment of drowsiness… the simple gestures of everyday life in the twenty-first century, so different from the twentieth century we have lived through. These details reveal our ways of living, our disarray, and our obsessions: painting sheds light on the rituals through which we try to shield ourselves from the world, as well as on our desire to invest in it, transform it, and conquer it. Through these scenes, sometimes touched with a hint of humor or irony, I explore the shifting tensions between human beings — always ready to find the most just and comfortable place in which to exist — and the environment that surrounds them.
Children's water games. A theme that confronts the painter with a work on water, water that slides, water that moves or stagnates, water in oil and oil in water. Water through which images are distorted, water that also sticks T-shirts to the skin. Effects of transparency, colours, wetness, play of light and shadow. A difficult exercise for the painter.
One summer morning in the South. It is very early, and sunlight floods the kitchen. The child is already there, his face dazzled by the bright light. Leaning on the bar, grimacing. The raspberry ice cream does not ease the pain; it runs down his red throat. The aroma and the sugar distract him a little. He has just had an operation. He is in pain, a lot of pain. As an artist, this moment and this light appeal to me. A palette of yellows, pinks and ochres. The crimson red of his lips.
Painting a baby... what an idea. When I did it, it seemed strange to me, probably because I don't remember seeing many in museums. Babies are not a subject. Interesting! But why is that? Their expressions and postures are varied, explicit, sometimes extreme. In fact, I found it difficult to convey his emotions here. Is he laughing or crying? The answer is in the title. He is definitely a laughing, mocking and playful baby.
Children's water games. A theme that confronts the painter with a work on water, water that slides, water that moves or stagnates, water in oil and oil in water. Water through which images are distorted, water that also sticks T-shirts to the skin. Effects of transparency, colours, wetness, play of light and shadow. A difficult exercise for the painter.
Dreamlike landscapes
I maintain a constant attention to the forms and rhythms of nature. Water, in particular, draws me in for its ability to merge transparency with depth, to capture light while distorting it. Reflections, shifting shadows, and the slightest surface variations become motifs I explore for their visual strength and their power of abstraction. From this attentive observation emerge landscapes in which the real subtly transforms, drifting toward the dreamlike. Natural elements retain their presence, yet recombine through internal movements, tensions, reframings, or unexpected points of view. I aim less to depict a place than to capture a sensation — that of a world in vibration.
‘Ballet de squilles’ is a peaceful underwater vision, juxtaposing two contrasting scenes: the stillness of the undulating seabed, whose clear waters reveal strange, almost lunar landscapes in the distance; and the brief moment of life and agitation, suggested by an unlikely ballet of multicoloured arthropods, otherwise known as mantis shrimp, small predators in search of microscopic sustenance, in the middle of the sand.
54 x 74 cm Blue does not call for commentary, and its title is of little importance. Blue is just a moment in time, a net of undulating dreams, a musical score. Blue is intoxication, abandonment and torment.
‘Ballet de squilles’ is a peaceful underwater vision, juxtaposing two contrasting scenes: the stillness of the undulating seabed, whose clear waters reveal strange, almost lunar landscapes in the distance; and the brief moment of life and agitation, suggested by an unlikely ballet of multicoloured arthropods, otherwise known as mantis shrimp, small predators in search of microscopic sustenance, in the middle of the sand.
Animal portraits
Animal portraits extend my attention to the place of the Living, to what in nature remains both fragile and sovereign. I look for the silent presence of these beings, for their brief yet essential expressions that carry something of Nature in its most direct, unadorned form. They offer the artist the opportunity to paint details of great delicacy — feathers, fur, textures — and of captivating beauty.
In this painting, I wanted to highlight a portrait of a bird, a rather strange creature otherwise known as the ‘Grand Ibijau’ in French - ‘The Great Potoo’ in English. While painting it, it reminded me of Blake Edwards' cult comedy starring Peter Sellers, The Party, particularly the episode with the parrot, set against a backdrop of retro aesthetics and jazzy music evoking a disconcerting world and society.
I am Thorlak, God of Oases. I am not just any dog, at least not one who spends his time escaping from his garden and dreaming of the unlikely scent of game. I am quite the opposite. I am the dog who enters houses by any means necessary, because I need to expand my territory and humans distract me. Here, my master has painted me in my kitchen. I am sitting there, very attentive, sly to say the least, in case I can snatch some food.
In this painting, I wanted to highlight a portrait of a bird, a rather strange creature otherwise known as the ‘Grand Ibijau’ in French - ‘The Great Potoo’ in English. While painting it, it reminded me of Blake Edwards' cult comedy starring Peter Sellers, The Party, particularly the episode with the parrot, set against a backdrop of retro aesthetics and jazzy music evoking a disconcerting world and society.