They came to life on paper, about 15 years ago, in a very difficult period in my life. Among other things, they symbolize a change of direction. I drew my first lines in the street in 2015, at the foot of the Saint-Vincent-de-Paul Church in Paris.

My grandfather introduced me to advertising designs by Victor Vasarely and, at the same time, kinetic art. I have always enjoyed mathematics and geometry, which no doubt oriented my artistic identity. I was also influenced by Vassily Kandinsky’s theories. Though, above all, I was really inspired by my practice of Tai Chi Chuan, and more generally Chinese thought.

I initially opted for chalk because I was unsure of myself. I knew that my lines could be easily effaced. And I did not want to upset people. As for “Le Blanc de Meudon” (white cleaning powder, Editor’s Note), the idea occurred to me after I got drenched in it by another artist. I then began to draw with my fingers on glass advertisement panels.

My artistic approach was born on the streets. I soon realized that my lines changed people’s trajectories. It is this interaction with the outside world that interests me. The lines resonate with their setting, and if that is not the case, they have no reason for being. In the near future, I would like to introduce beauty into the city in a more long-lasting way, and work on the street in a more urbanistic manner. Because beauty exists, but also usefulness.

It is true that I can decorate the capital’s pavements just as easily as the doors to the Café de Paris in Monaco! Collaborations to which I sign my name must always have a meaning. I require “carte blanche,” though not totally, so that I can play with constraints, just as in the street. What counts is the powerfulness of the lines. They are not static, but alive, and can adapt.