YOU OFTEN DESCRIBE YOUR WORK AS NAVIGATING THE IN-BETWEEN - BETWEEN ORDER AND DISORDER, FREEDOM AND DETERMINISM, REALITY AND IMAGINATION. WHAT FIRST DREW YOU TO THESE LIMINAL STATES, AND HOW DO THEY SHAPE THE EMOTIONAL TENSION IN YOUR PAINTINGS?

I have always been drawn to places where opposites overlap, order and disorder, reality and imagination. That in-between space holds tension and possibility, and I try to capture that instability in my paintings so viewers feel both the structure and its unraveling at once.

YOUR MASTER’S RESEARCH IN SOCIOLOGY FOCUSED ON VULNERABILITIES AND SOCIAL CRISES. HOW DOES THAT ACADEMIC EXPLORATION OF FRAGILITY AND RESILIENCE CONTINUE TO INFLUENCE THE WAY YOU PAINT PEOPLE AND RELATIONSHIPS?

My Master in Sociology is far behind me, but it still holds a lot of weight in how I see things. That research made me attentive to the ways people carry both fragility and resilience. When I paint figures or relationships, I’m less interested in fixed identities but more in those subtle tensions, how vulnerability can reveal strength, and how resilience often grows out of rupture. That perspective continues to shape the emotional depth I try to bring to my work.

IDENTITY, OTHERNESS, AND THE SELF RECUR IN YOUR WORK. DO YOU SEE PAINTING AS A WAY OF QUESTIONING HOW WE UNDERSTAND “THE OTHER” IN SOCIETY, OR AS A MORE PERSONAL MEDITATION ON YOUR OWN EXPERIENCES OF DIFFERENCE AND BELONGING?

For me, it’s both. Painting is a way to reflect on my own experiences of difference and belonging, but it also opens a space to question how we see and construct “the other” in society. The personal and the collective are inseparable, by exploring one, I inevitably touch the other.

GROWING UP BETWEEN FRANCE AND MOROCCO GAVE YOU EXPOSURE TO MULTIPLE CULTURAL LANGUAGES. HOW HAS THAT EARLY EXPERIENCE OF LIVING “IN-BETWEEN WORLDS” INFORMED THE WAY YOU THINK ABOUT PAINTING TODAY?

Growing up between France and Morocco, I often felt I was moving between  worlds, the cultures being so deeply  different. That experience shaped me deeply I guess and painting became a way to hold those contrasts together in a way.  It allows me to explore that in-betweenness as a complex, fertile space rather than something to resolve.

YOUR FIGURES OFTEN HOVER BETWEEN FIGURATION AND ABSTRACTION, ALMOST DISSOLVING INTO THE CANVAS. DO YOU SEE THAT AMBIGUITY AS A REFLECTION OF THE INSTABILITY AND FLUIDITY OF HUMAN EXISTENCE?

Yes, absolutely. I let the figures shift between presence and dissolution because I see human existence as inherently unstable and fluid. That ambiguity mirrors how identities, relationships, and even memories are never fixed, they’re always in motion, always at risk of disappearing or transforming.

YOU’VE EXHIBITED IN SO MANY DIFFERENT PLACES - FROM TEL AVIV TO VIENNA TO SINGAPORE. HOW DO AUDIENCES IN DIFFERENT CONTEXTS RESPOND TO THE THEMES OF VULNERABILITY AND OTHERNESS IN YOUR WORK?

What’s amazing is that the themes of vulnerability and otherness resonate everywhere, but they’re read differently depending on the context it seems. In some places, audiences focus more on the political or social dimensions; in others, they connect on a more intimate, emotional level. I find those shifts revealing, they show how universal these experiences are.

4BYSIX AIMS TO MERGE CREATIVITY WITH SOCIAL PURPOSE. DOES THIS ALIGNMENT OF ART, COMMUNITY, AND SUSTAINABILITY CONNECT WITH YOUR OWN VISION OF WHAT PAINTING SHOULD ACHIEVE IN THE WORLD?

Yes, very much. I believe painting is not only a personal practice but also a way to engage with the world around us. 

The alignment of art, community, and sustainability resonates with me because I see art as a space where aesthetic experience and social purpose can meet, where creativity can really have an effect on how we live together.

WHEN YOU LOOK AT THIS PAINTING USED IN THE PRINT NOW, WHAT DOES THE IMAGE SAY TO YOU, AND HOW DO YOU HOPE IT SPEAKS TO OTHERS?

When I look at this painting, I see a couple caught in a movement between togetherness and individuality, that eternal dance. I hope it invites the viewers  to reflect on the tension, intimacy, and vulnerability that exist in every relationship.

MUCH OF YOUR PRACTICE EXPLORES CONSCIOUS AND UNCONSCIOUS SPACES. DO YOU SEE PAINTING AS A KIND OF BRIDGE BETWEEN THOSE TWO REALMS, AND IF SO, WHAT ROLE DOES CHANCE OR INTUITION PLAY IN YOUR PROCESS?

Yes, I definitely see painting as a bridge between the conscious and the unconscious. Working with oil also really gives that impression as you are not in full control. Intuition and chance are essential, sometimes a gesture, a mark, or an accident on the linen reveals something I hadn’t planned, something deeper. My process is about staying open to those moments and letting them guide the work, allowing the unconscious to emerge alongside intention.