accidental artist


Christophe was born in Paris in 1971.

In 1996, he joined a collective workshop in Lyon, attended by about twenty artists, all self-taught and it is there that he will meet the sculptor Robert Thouret, the young painter Joseph Camara and the chess player John Sammut.

In 1998, Christophe met the Bosnian painter Mirsad Hadzikaric in the south-east of France, marking a turning point in his accidental approach to painting. They worked together in a movement that Mirsad had created, and called "SCARECROW" and, together with other painters, including David Granata, they wrote a manifesto titled "Beauty without elegance". Many exhibitions will speak about this movement, in Paris, in the South East of France, and also in Sarajevo, during the Art Festival of 2002. It was a real School of Art, far from the academic schools, with a a manifesto expressing at the same time principles of expression such as aeration, agitated seizure, non-anecdotal, and also a manifesto pronouncing a strong commitment in the face of a social climate where Art died, contaminated by the commercialism of a dehumanized system and the hegemony of decoration and conceptual modes of thought. In 2002, the movement will be brought to justice with the case of the censored gallery in Saint Tropez, and will be released by the court of Justice of Draguignan.

After these five years in the Scarecrow movement, Christophe wanted to follow a more personal path, and he went back to 0, pushed to escape from any influence ...

In 2006, the merchant Charles Zalber discovers it and decides to expose it to the Grand Palais, in the middle of his collection of painters like Basquiat, Tapiès, and Picasso and Cocteau's drawings. It will be exhibited with the Galerie Lucie & Silegman during exhibitions in Strasbourg in 2007. The death of Charles Zalber, three years later, will put a therm to this Parisian adventure.

He continued to travel between Asia and the Orient and during a period of hermit in the foothills of the Pyrenees, Christophe began to integrate sculpture into his painting; shapes created with rags, pieces of wood, bits of string or other materials found and amassed during various pilgrimages, including the long march to Santiago de Compostela in 2005 and 2011.

Essentially, this "Art" is his daily practice ... a devotion and commitment that surpasses the concepts of failure and success and that share for real, without propaganda or personal interest.

Where a world is outshined, a humanity is rising.