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Sur moi/About me:

J'ai commencé à peindre à la gouache dans le premier silence de 2020, quand le monde s'est figé et que le temps s'est comme suspendu. Ma partenaire Cat et moi sommes restés à la maison pendant six semaines de confinement. Même après la reprise du travail, j'ai continué à peindre. Dans les marges. Le soir. Dans ces espaces de calme qui me semblaient de plus en plus nécessaires.

En avril 2021, mon corps a commencé à réagir différemment. Mon équilibre s'est dégradé. Difficultés de marche. La fatigue s'est installée dans mes os. Mon côté gauche était comme dans l'eau. Troubles cognitifs. La sclérose en plaques (SEP) – un lent déracinement.

La gouache exigeait de la stabilité. Une maîtrise parfaite du pinceau. Une main qui puisse planer sans trembler. Je n'avais plus cette main.

Alors je me suis tournée vers l'écran.La lumière numérique.La fonction « Annuler ». Des contours nets. Cela m'a permis de continuer à travailler. Cela m'a permis de continuer à créer. Mais elle ne résista pas. Aucune résistance. Aucune friction. Aucun poids ne s'accumulait au bout du bras. Aucun accident suffisamment grave pour avoir une quelconque importance. La surface semblait scellée. Trop docile. Trop silencieuse.

Et puis – l'acrylique. Plus lourde. Sans complexe. Physique. Elle n'exigeait pas de délicatesse. Elle accueillait la force. Elle absorbait le déséquilibre. Elle pouvait contenir le tremblement sans le nier. J'ai gratté. J'ai superposé. J'ai enfoui et découvert. La peinture se déplaçait comme le temps sur la surface. L'œuvre a cessé de chercher à être contrôlé et a commencé à chercher l'authenticité.

Avec l'acrylique, j'ai cessé de rechercher ce qui avait été perdu. J'ai travaillé avec ce qui restait. Le corps a changé. La main a changé. L'œuvre a changé.

Et quelque part dans cette épaisseur –dans cette friction – j'ai trouvé la satisfaction. Non pas la facilité. Non pas la maîtrise. Mais la reconnaissance.

🌻🌻🌻

I began painting with gouache in the first stillness of 2020, when the world closed and time loosened. Cat and I were home for six sequestered weeks.

Even when work resumed, I kept painting. In the margins. In the evenings. In the quiet spaces that felt increasingly necessary.

By April 2021 my body had begun to speak differently. Balance faltered. Walking difficulties. Cognitive issues. Fatigue settled in the bones. My left side moved as if through water. Multiple sclerosis (MS) — a slow unthreading.

Gouache asked for steadiness. For control at the edge of a brush. For a hand that could hover without shaking. I no longer had that hand.

So I turned to the screen. Digital light. Undo buttons. Clean edges. It kept me working. It kept me making. But it did not push back. There was no drag. No resistance. No weight gathering at the end of an arm. No accident thick enough to matter. The surface felt sealed. Too obedient. Too quiet.

And then — acrylic. Heavier. Unapologetic. Physical. It did not demand delicacy. It welcomed force. It absorbed imbalance. It could hold the tremor without denying it.

I scraped. I layered. I buried and uncovered. Paint moved like weather across the surface. The work stopped trying to be controlled and began trying to be honest.

In acrylic, I stopped reaching for what had been lost. I worked with what remained. The body changed. The hand changed. The work changed. And somewhere in that thickness --in that friction-I found satisfaction. Not ease. Not mastery. But recognition

Contacter/Contact

Acrylique/ Acrylic

Tout d'abord, une collaboration avec ma partenaire Cat.

Le visage est apparu lentement sur le fond vert. Puis Cat a accentué certains détails du visage.

🌻🌻🌻

Firstly is a collaboration with my partner Cat.

The face in this just slowly appeared under the green background. Then Cat emphasized some of the facial details.

Emerging

Cat as collaborator ⬆️

Mixed media acrylic #1

Mixed media acrylic #2

Mixed media acrylic #3

Under attack

“Under Attack” started as a simple figure study and turned into this slightly ridiculous scene with three bees circling.

When you look at it, do you feel more tense?

Blowing

Mixed media acrylic #6

Cat as collaborator ⬆️

Singin' in the rain

Red flow

Not skating

Looks a little like a speed skater. Without skates

Untitled

Something is emerging! I don't know what, but I like it🙂

Swamp

I was thinking trees and blue sky again; but Cat, my partner and collaborator, told me it was upside down

Cat as collaborator ⬆️

Looking Away

I sanded out some acrylic paint and added some watercolour pencil and marker, et voilà

The Garden

My idea of a wild garden left to its own devices.

Where are you?

Seeking someone from the beyond.

The View

"The View" invites the viewer to wonder what lies in the figure’s thoughts.

Cat as muse⬆️

Waiting

High contrast, impasto, highly textured, colourful...

Still waiting!!!

Myself as muse⬆️

After the Flood

I'm not sure if this abstract blue, green and grey landscape is a waterfall or shadowed trees above a road.

Blue Hues & Sassy Cues

A bold blue figure lounging without a care in the world.

Cat as collaborator⬆️

When the walls tilt

This abstract expressionist painting reveals a moment of vulnerability.

The figure hides his face in a mix of sadness and isolation.

Myself as muse (mostly)⬆️

Blurred Lines Lounge

"Blurred Lines Lounge” a lazy afternoon turned into art.

Myself as muse ⬆️

Stealing the magic

"Stealing the magic" shows a figure, a little sly, looking sideways as if he’s just srolen something important and doesn't really know what to do with it.

Myself as muse ⬆️

Awkward grace

A painting that proves people don’t have to be perfect to be interesting and have character.

Myself as muse⬆️

Kaleidoscope Kick

This is actually a person lying back. Too abstract?

Tangled ember

This piece presents a lone figure curling inward, their wild orange hair spilling like fire against a muted, moody backdrop. The cool teal tones dancing across the body contrast with the energetic lines that sketch vulnerability and strength at once. It’s like a quiet conversation between shadow and light, chaos and calm—a perfect companion to add intrigue and depth to your space.

Fractured Currents

Fractured Currents presents a textural conversation between cool blues and a sharp ribbon of red. Torn scraps of printed paper nestle into sweeping washes of paint; raw edges meet confident brushwork and a thin, dripping thread of crimson that pulls the eye through the composition. The work alternates between calm fields and kinetic marks, suggesting movement without losing a quiet mood. Playful and a little cheeky, it reads like city poetry rendered in collage and color.

A striking choice for a living room, entryway, or home office that could use a burst of personality.

Blushing Contemplation

This piece plays with gentle pinks against a cool blue backdrop, presenting a figure lost in thought or maybe tangled up in their own daydream. The soft edges and blurred forms invite you to fill in the gaps with your own story. It’s like a quiet moment caught between reality and imagination—a perfect companion for any space that needs a touch of reflective calm.

Road to nowhere

This piece playfully drifts through a sea of blues, with unexpected splashes of red and green that like to keep you guessing, almost like they’re having a quiet conversation with your imagination.

The layered textures invite your eyes to wander as you travel the road to nowhere.

A fun splash of color and mystery to brighten up your wall.

Napping

There’s an art to doing absolutely nothing. “Napping” is my quiet love letter to that soft, heavy feeling when you finally give in and let your body collapse on the couch. No performance, no productivity—just a pink, relaxed form sinking into blue cushions and staying there as long as needed.When was the last time you let yourself truly nap without feeling guilty?

Myself as muse⬆️

Meditation

Meditation presents a figure from behind, awash in bold swaths of red, orange, and yellow that ripple with energy against a cooler, abstract backdrop. The loose, expressive color transitions evoke the playful rhythm of early morning light and movement. This vibrant piece brings a relaxed yet dynamic spirit that could brighten any space with a splash of poetic color.

Cat as muse ⬆️

Quiet Radiance

Not every powerful moment is loud. “Quiet Radiance” is a small, solitary scene: one figure curled in the dark, held only by a faint window of light. It’s about those private pauses where you’re not performing for anyone—just sitting with yourself, shadows and all. Does this feel more like loneliness to you, or like a necessary retreat?

Cat as muse⬆️

Back

Living with a body that doesn’t always cooperate changes the way you see it. You start noticing all the small negotiations between strength and strain, comfort and discomfort. “Back” came out of that daily conversation I have with my own spine. In this painting, the figure is turned away, all focus on the curve of the back and the tension running up through the shoulders and neck. There’s no face to explain what they’re feeling—you have to read it through posture and colour instead. Layers of paint build up over time, some strokes buried, some scraped back and repainted, the way pain itself comes and goes in waves. I work in acrylic because it lets me change my mind. I can paint over what isn’t working, push the colours further, dig into the gesture until the body feels honest. With “Back,” I wanted that honesty more than perfection. The figure isn’t idealised; it’s human—carrying weight, but still upright. For anyone who lives with chronic pain, fatigue, or invisible illness, the back is not just anatomy—it’s history. Every twist, every knot, every ache is a reminder of where you’ve been and what you’re still carrying. This piece is my quiet acknowledgement of that: the vulnerability of turning your back, and the quiet resilience of holding yourself up again and again. If “Back” resonates with your own experience—or simply speaks to you as a study of the human form—I’d invite you to sit with it for a moment. Notice where your eyes go first. Is it the line of the spine, the shoulders, the colours gathered around the tension points? That’s where the story lives.

Myself as muse⬆️

Untitled

Leap

Some moments in life aren’t polite steps forward—they’re a shove. You look down, realise there’s no solid ground under you anymore, and suddenly you’re airborne whether you meant to be or not. “Leap” is my way of painting that suspended moment between the old life and the new one. The figure here isn’t landing and isn’t quite taking off. They’re caught mid-transition, with the body stretched, off-balance, reaching. That in-between space—where you’ve left what you knew but haven’t yet arrived anywhere safe—is uncomfortable, but it’s also where change actually happens. Working in acrylic lets me build that feeling slowly. I layer colour, then scrape, then repaint, the way we second-guess ourselves and then commit again. Underneath the final surface there are old attempts, false starts, and abandoned directions, and I like that they’re still there, even if you can’t see them all. It mirrors the way we carry our earlier selves inside us when we make a big leap. “Leap” is about the risk of choosing something different: a new body reality, a new way of working, a new way of being in the world when the old map no longer fits. It’s not a heroic, chest-out leap—it’s a vulnerable one. The kind where you don’t know how it will turn out, but staying where you were has stopped being an option.If you’ve ever changed careers, started over after a diagnosis, ended something that defined you, or simply felt pushed into a new chapter before you were ready, you might recognise yourself in this painting. The tension in the pose, the colours clinging to the edges of the figure—those are all small traces of that inner conversation: “Am I really doing this?”, “Do I have a choice?”. Spend a little time with “Leap” and notice where your eye settles. Is it on the direction of the movement, the weight in the legs, the pull of the background? Wherever you land, that’s the part of the story that’s speaking to you. Sometimes the bravest part of a leap isn’t the landing at all—it’s the decision to leave the ground.

Burning love

Where The Day Dissolves

This is what it looks like when the day finally lets go of you—and you let go of it. “Where The Day Dissolves” came out of thinking about those in–between moments: you’re not quite awake, not quite asleep, just floating in warm water and letting your thoughts blur at the edges. No face, no identity, just a body allowed to rest.Does this feel more like escape to you, or like a small act of self‑care?

Cat as muse⬆️

Sitting

Kiss me

Escape

Waking

Window shopping

“Window shopping” sounds light and harmless—no commitment, just looking. But there’s a quiet ache built into it too: wanting, considering, measuring distance between what’s behind the glass and what’s actually in your hands. “Window Shopping” is my way of painting that feeling. In this piece, the gaze does most of the work. Whether you read yourself as the person inside looking out, or outside looking in, there’s a subtle tension: curiosity mixed with caution. The body language and the way the figure relates to the glass are important here—close enough to see details, not quite brave enough (or able) to cross the threshold. Working in acrylic, I layered colour and form the way we layer our wishes and hesitations. Areas are painted, repainted, and half-buried, like things we’ve almost decided on and then talked ourselves out of. Some edges stay loose and fuzzy, suggesting possibilities that never quite solidify; others are sharper, like the frame of a shop window or the line between “just looking” and “I’m taking this home.”“Window Shopping” isn’t really about buying things. It’s about the way we stand outside our own desires and lives sometimes, telling ourselves we’re only browsing. A different job, a different body, a different pace of life after illness or change—these can all become things we look at from a distance, as if they’re on display for someone braver. The colours and composition in this painting are meant to hold that contradiction: a pull toward something and a holding-back at the same time. There’s a bit of humour in the title, but also a gentleness. Not every decision can be made quickly. Some need the long stare, the walk-by, the coming back later. If you’ve ever pressed your face up to a metaphorical shop window—imagining another way of living, another way of being in your own skin—this piece might feel familiar. It’s an invitation to notice what you keep circling back to, what you tell yourself you’re “only looking at,” even though part of you already knows it’s meant for you.

Untitled

Untitled

Untitled

Aglow

Eye of the storm

Turbulence

Looking back

Mirror .25

Art

Untitled

Waterfall

Waves

Untitled

Abstract#1

Abstract#2

Abstract#3 & #4

Abstract#5, #6 & #7

Abstract#8 & #9

Abstract #10

Abstract #11

Abstract #12

Abstract #13

Abstract #14

Abstract #15

Deux tableaux créés dans dix minutes

Two paintings created in ten minutes

Untitled

"Tout art est à la fois surface et symbole. Ceux qui s'aventurent au-delà des apparences le font à leurs risques et périls." — Oscar Wilde

"All art is at once surface and symbol. Those who go beneath the surface do so at their peril." — Oscar Wilde

Ma personne préférée, jouant à son jeu préféré, dans mon fauteuil préféré

My favorite person, playing her favorite game, in my favorite chair

Favourite Part III

voir/see Part I dans/in gouache

Beach play

"Beach Play” presents two intertwined figures caught between the splash of cool blue and the warmth of earthy tones below. The rough texture and muted palette hint at a raw, tangled connection that’s both awkward and intimate, expressing the messy, unpolished nature of human relationships with a candid, almost playful honesty. It’s a thoughtful addition for any space craving a bit of depth and character.

Thief

“Thief” could be read as a metaphor for illness, dependency, grief, addiction, or time itself—something small and dark taking hold of something larger and softer. It’s eerie and oddly compassionate at once.

From dark to light

Cancelled

Saying hi!

Can you hear the music?

Sun worship

Take the plunge

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"L’imagination est plus importante que le savoir." — Albert Einstein

"Imagination is more important than knowledge." — Albert Einstein

That's it!

Meet your new conversation starter: two oddly expressive figures caught in an awkward moment that’s part tender, part hilarious, and all kinds of human. The greenish character on the right holds out a peace offering while the other seems unimpressed but curious. Quirky, charming, interesting. Perfect for anyone who enjoys a mix of strange and sincere on their walls.

Pleasure...

Touching!

Human connection is rarely neat. It’s messy, blurred, and sometimes you can’t tell where one person ends and the other begins. In “Touching,” I wanted the embrace to feel like two shadows melting together—tender, but a little uncertain around the edges. The muted greys and soft forms say more with suggestion than with detail. NoWhat do you see first here: comfort, longing, or something else entirely?

Embrace

Moondance

This is what it looks like when the night gets into your bones a little. “Moondance” is all about movement and connection—these outlined figures reaching, dancing, almost glowing against that hot orange and deep blue. It’s not about perfect anatomy, it’s about the feeling of being swept up in a moment with other people. If you could give this little gathering a soundtrack, what song would you choose?

Getting ready

Good looking

"La créativité est magique. Ne l'examinez pas de trop près." – Edward Albee

"Creativity is magic. Don’t examine it too closely.” – Edward Albee

Moving

Pondering

Bye bye blues

Night

Watching

Destroyer

What do you think?

Cat#8

Help

Discovery

Phonebooth

Mirror

Reflection

In shadow

L'une de mes meilleures toiles. Je me suis inspiré d'une photo prise de ma voiture, rue Saint-Patrick à Montréal. Les usines sont laides. J'espère que les couleurs ont sublimé celle-ci.

One of my better paintings. I used a photo I took from my car on St-Patrick street in Montreal. Factories are ugly. I hope the colours made this one better

Pollution

Untitled

Nous avions deux chats. De véritables esprits libres.

We had two cats. Such free spirits.

Cat#7

Cheeky

Cat#5

Cat#4

C'est vraiment nul. C'est une perte de temps. Mais c'est génial quand on est épuisé.

It does suck. Is a waste of time. But is great when you're exhausted

Tv sucks

Cat#8

"La seule différence entre moi et un fou, c'est que je ne suis pas fou."

- Salvador Dali

"The only difference between me and a madman is that I'm not mad."

- Salvador Dali

On your knees

Tant de décisions à prendre constamment.

So many decisions to make constantly.

Ummmm!

Found it

Chaos

Je montre mon âge.

I am showing my age.

Gone

Vous avez peur du noir, vous aussi ?

Are you afraid of the dark too?

Shadowy light

Untitled

Who am I?

Wall decor Part 1

"C'est une satisfaction pour moi de savoir que je suis ignorant en matière d'art... Car ceux qui comprennent l'art ne trouvent dans les tableaux que des imperfections."

-Mark Twain

"It is a gratification to me to know that I am ignorant of art... Because people who understand art find nothing in pictures but blemishes."

-Mark Twain

Oppression

Out there

Bougeons-nous et partons à l'aventure!

Let's get off our ass and wander!

Sundowning

Oh no!

Get them off

Stairs

Blue

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Retching

Resting

Mask

Ce que nous montrons au monde extérieur.

What we show the outside world.

Cat#1

Floppy hat

So green

Backward glance

Pour certains, oui! Je souhaite seulement…

For some it is! I only wish...

A piece of cake

Forgive me

Surrender to the spell

Numérique/ Digital

Favourite Part II

voir/see Part I dans/in gouache

La peinture numérique est idéale pour les personnes atteintes de SCLÉROSE EN PLAQUES. Elle permet de travailler assis. Installation minimale. Pas besoin de soulever de pots d'eau, de frotter les palettes ni de se fatiguer après le nettoyage.

Digital painting is a good fit when you have MS . You can work seated. Minimal setup. No lifting water jars. No scrubbing palettes. No cleanup exhaustion.

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Contacter/Contact

Contacter/Contact

Contacter/Contact

Gouache

Ma personne préférée, jouant à son jeu préféré, dans mon fauteuil préféré

My favourite person, playing her favourite game, in my favourite chair

Favourite Part I

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