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In these works from which emerge as many volumes in balance as “untouched” structures, the artist declines motifs such as the circle and the column. In other works that say something about man’s relationship to the world, it is a question of the ear and the understanding, of praying hands and near-silence. Here, receptacles with their large surfaces of vibrations, there, concretions made of folds and meanders like those of the brain for example. Undeniably, these works, by their repetitive force and their power of integration of linguistic signs – one must listen to the titles that the artist attributes to his works -, impose the idea of a quest based on the poetic and haunted by what makes the prodigy of it: the blossoming of the sense, its possible dehiscence, without the recourse to the argumentation or to the least dialectical system.