For several years, driven by the desire to combine my artistic practice as a painter-scculptor and my training as a philosopher, I place my work in a reflection on the human being, his image, his life and his condition in the heart of postmodernity. This research also led me to explore various aspects of the feminine essence and the uniqueness of her experience. My work reflects primarily as a research on the subjectivity of body image and flesh, and a reflection on look, nudity, iconology, fashion trends, posture, and quest of gender identity. Born on 20 October 1975 from a family of artists, my work is characterized on one hand by an early artistic practice. As I was very young, I was initiated to drawing and painting by my mother and the practice of fashion sketches with my cousin. Practising portrait regularly since the age of nine, I discovered at the end of my adolescence the Renaissance great masters of including Titian. However, my most decisive influence comes from Caravagists. I admire their violent aesthetics, their staging and effects of chiaroscuro exalting the body and providing a particular intensity to volumes. As a young adult, I was also very sensitive to the unique aesthetic of Viennese modernism painters such as Schiele and Klimt, and in particular to the ambiguity of female eroticism and exaltation of femininity that emerges from their art. On the other hand, my work reflects my childhood marked by a complex family identity. Close to my maternal grandmother (born in Algeria and descendant of a Martinican slave) at a very early stage, I realized the tragedy of existence, racism, uprooting, and the sense of a black identity. Moreover, coming from a family where men were absent and therefore lacking of differentiating reference, I wondered early about the meaning of the mismatch between woman being and woman becoming, as well as the significance of the idea of femininity, perception of the female body as an object of desire and of erotic and aesthetic pleasure, and thus about the alienation coming from it.