✨ Stones hold stories. My work makes them visible.
I collect stones from landscapes deeply tied to my family history in the South of France. Sliced into thin sections, they reveal hidden structures when exposed to light—like seeing through time.
Each print is a preserved memory of its place of origin, a reminder that the present is layered with the past and shapes the future.
Thanks to @anouk_geologist and @vuamsterdam to make this project possible 🫶
How nice to see you framing my prints ❤️
Rocher Saint-Barthélemy on the French Riviera is a majestic red-rock formation perched above the Mediterranean, where garnet-red cliffs meet turquoise seas. Formed around 250 million years ago by volcanic activity, its fiery hues are unique in France.
Collaborating Witnesses (2024) features a combination of human-made stones and naturally occurring stones, blending these elements to create a unified narrative.
The work addresses the fragility of our species in contrast with the enduring toughness of stone. Geologically, stones are records of Earth’s history, preserving fossils and layers that tell the story of our planet’s evolution. Culturally, they have been used throughout history for their durability and symbolic value. The Ancient Egyptian practice of engraving stones for afterlife messages highlights their role in preserving important texts and beliefs.
Stones, fossils, and mountains are deeply linked with printmaking and art, as the act of engraving parallels how stones record history.
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#contemporary_art #visualartphotography #layering #artphotographer #layeroftime #artistsoninstagram #stratas #collecting #collectrocks #timemachine #deeptime #timetraveler #geologyrocks #mountaintime #mountaingram #tangibletime #accessibletime #clayart #clayartist #ceramicart #organicart #bringingattention #timesequences #canIformtime #artandscience
Ch13 - Valle de los Cactus, 2026
Photopolymer gravure, using stone powder from the exact location, as ink
26 × 21 cm
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Ch13 - Guatin, 2025
Sediment Trace Sample from Valle de los Cactus, Guatin.
Powder used as ink.
10 × 6 cm
From picking up a stone, through pulverising it into a very fine grain, to printing photopolymer gravures with it.
Carrying on developing a body of work around a collection of traces - traces of reality, of what remains. Material evidences of a landscape already charged with time. From my time in Chile at @lwcurrent .
I left Chile with a series of images and stones that I ground into pigment.
After working with direct imprints, mineral dust, and material samples, I continue the project through photogravures, using stone powder from the exact location of each photograph as ink.
Very happy to see this process succeed.
@lwcurrent
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Me fui de Chile con una serie de imágenes y piedras que convertí en pigmento.
Después de trabajar con impresiones directas, polvo mineral y muestras de material, continúo el proyecto a través de fotograbados, utilizando polvo de piedra del lugar exacto de cada fotografía como tinta.
Muy feliz de ver este proceso hacerse realidad.
If you’ve been following my work for a while (and if not, welcome!), you may know that I’ve been researching how to use stone powder as ink in etching and photogravure.
These are some of the outcomes: unique additional prints from Altered States and 200 000 000.
Etching (hard ground, open bite, aquatint).
