My artistic creations embody my political and social commitment, rooted in in-depth reflection on both content and form. Each work is born of questioning, of an intention to engage in dialogue with the world, and above all of a desire to convey strong messages. I believe that puppet theatre, as a hybrid form of expression, makes it possible to deal with complex subjects - be they political, social, poetic or philosophical - in a subtle and accessible way, while allowing great creative freedom.

    This desire to enrich the meaning of my work has led me to surround myself with contemporary authors and poets, who enrich my creations with their sensitivity and their unique view of the world. These collaborations are essential to my work, as they bring a literary and emotional depth that enables me to anchor my creations in contemporary reality. By drawing on contemporary poetry and prose, I endeavour to address important societal issues such as war, freedom and identity, while proposing answers through imagination and emotion.

    My first creation, Vané, explores the work of the poet Radovan Ivsic, for whom the quest for the marvellous is synonymous with the quest for freedom, and neither of which can have an end. I have dedicated a cycle of work to him, Le Poids des mots et la force des rêves.

    One of the aspects that profoundly defines my artistic approach is my curiosity and openness to the traditions of the countries and regions where I work. Each encounter with a new culture is an opportunity to learn and to integrate elements specific to that culture into my work. For example, during my visits to the Balkans, I was fascinated by the shadow theatre of Karagöz, a popular art form that combines humour, social satire and ancient traditions. I have produced several shadow theatre projects, such as the show Les Arnaqueurs, freely inspired by this comic and biting style, which allows you to criticise society while creating a direct link with the audience. I also worked with director Blerta Neziraj on the shadows for L'Effondrement de la Tour Eiffel in Kosovo.

    In the same region, I produced the children's show La Vallée aux pommes (Apple Valley), which toured Albania, Kosovo, Serbia, Ukraine, Tunisia and the DRC and dealt with the fate of children during war, a poignant and universal subject that has a particular resonance with the history of these countries. Through this work, I wanted to give a voice to those whose suffering is too often forgotten, using puppetry as a powerful vector of emotion and memory.

    In Ukraine, it is the tradition of Vertep, a travelling puppet theatre of religious origin, that has largely influenced my work. Vertep, which was once used to transmit stories, is a wonderful medium for expressing contemporary stories of resistance and hope. My show Maïdan Inferno, inspired by the Euromaïdan revolution of 2013-14, was freely guided by this heritage, using puppetry as a tool to reflect on political and social struggles.

    My creations are rooted in multiple cultures, and I see this as an inexhaustible source of richness. Through my work, I seek to pay homage to local traditions while infusing them with a contemporary dimension. This fusion of the traditional and the modern enables me to reach a diverse audience, in which everyone can recognise an element of their own culture or discover foreign traditions.

    This intercultural approach is also reflected in my multilingual work. I have often created several versions of the same show in different languages, in order to make my creations accessible to a variety of audiences. Adapting a show into a different language is not just a matter of translating the text; it's an exercise that requires you to rethink the way you communicate with a new audience, to immerse yourself in another culture, and to adapt the visual and symbolic elements so that they make sense in this new context. This work of adaptation enables me to broaden the audience for my work and weave links between cultures that are often perceived as distant.

    In short, my creations are part of a committed artistic approach, where form and content are nourished by my political, social and cultural reflections. Through literary collaborations, the integration of local traditions and multilingual work, I seek to open up spaces for dialogue and reflection, where puppets become a bridge between cultures, ideas and peoples.

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English translations are in progress