The word “SGRAFFITO” comes from the Italian sgraffiare, which means to scratch. Behind this simple definition, lies a demanding practice that has become the heart of my work. I explore this technique as a way to reveal what the material already contains, as if the image is waiting to be discovered, rather than created.

My works are born from superimposition, multiple layers of resins and pigments. Each has its own density, its own light, its own memory. The construction of the surface requires time, precision and in-depth knowledge of materials. Drying times, reactions between pigments, transparency and opacities must be rigorously controlled so that the material can then accommodate the gesture of sgraffito.

Using different tools, I incise, scrape, graze or excavate the surface. This gesture is irreversible. It requires absolute attention, because it is not only a question of removing matter, but of finding the right depth, the one that allows light, colour and hidden shapes to appear.

Scratching then acts, like a slow writing, a form of poetic archaeology, where time remains inscribed in the material.

Resins play an essential role in this research. Their depth, translucency and ability to capture light make it possible to create complex visual spaces where pigments seem to float at different depths.

My work is guided by this tension between appearance and disappearance, between construction and erasure. This method makes it possible to question what is hidden behind appearances, to give a visible form to what usually remains buried. Each work thus becomes a place of revelation where light emerges from the material and where the eye is invited to explore the depths of the visible.

I don’t try to represent the world. I try to bring out what matter, time and light you have been told when they are given the opportunity to reveal themselves.