“In the fine coloured transparencies of her painted Japanese paper,
she reaches the sober style of minimalist architecture.”
Bob Van der Auwera


As an interior designer, I take a course at the Académie des Beaux Arts de Braine l’Alleud and more specifically the study of colour.

I produce acrylic paintings on Japanese paper, the kind that is selected for its physical-chemical resistance of conservation and restoration, but also its lightness and translucent properties.

My objective is to develop an interaction between the particular qualities of the paper and the colour.

Each paper is painted in one colour, so that paper and colour become one entity.

Their superposition, lightness and translucence create new mixtures and tactile vibrations.

Papers are forming as many coloured coats which, by superposition and shifting of surfaces allow the colour to appear in its fullness.

The size is determined through surface extension, crossing and overlapping and through the way new coloured areas are created.

The drawing is the result of the joining and splitting of the chromatic masses. Colour is its own design. The form-colour is generated by itself.


  • An unlimited series of acrylic paintings on ‘loose’ Japanese paper, 
    The papers are loose; only a few fastening points keep them together.
    The shadow left by a paper in connection with another, as a light and subtle movement, produces life and density.
  • An unlimited series of acrylic paintings on Japanese paper, stretched on canvas.
    °rectangles: 83cm/97cm-2008
    °squares: 97cm/97cm
    Fastened on their edges, the papers are tight but keep fluid, translucent and breathing qualities. Interaction between the various colour areas induces the perception of other colours and depth.

  • An unlimited series of acrylic paintings on Japanese paper on Dibond.
    °48cm:48cm -2010-2011
    °20cm /20cm-2011
    The papers are glued on the total surface.
    Increased translucence.
    Tactile properties: smooth or downy.
    Surface is plain; there is interaction between colours and areas to deny depth and perspective.

Photographic work

This is an extension of the painting work done on Japanese paper: overlaying coloured strata.
My objective here is to develop the interaction between the photo and the layers which are present at various levels within the social life, cultural life but also geological, botanical fields…
The first glance shows a natural or urban landscape, a human face.
The coloured strata are affecting the photo in such a way that we see a totally different universe.
The spatial environment is either reinforced or reduced in a setting which is the result of numeric handling, double exposure, disappearance, appearance, transformation…