Autonomous Sustainable Ceramic. It s a esencial creative guideline based on the archaic and preindustrial process for ceramic art creation. The actual pandemic due to the SARSCOV2 (COVID19) I am sure to be in the right way by planning creating fully independent of the conteporary industry model. 2020 05 02 Armor Bihan.


The painting exposition 14-18RH at the MAT (Museo de Arte del Tolima) have been a great public success, more than one thousand visitors from novembre 2017 to april 2018. I am actually managing for exhibiting in Brittany France for celebrating the century anniversary of the wedding of my grandfather and his survivance of the WWI carnage, in loving memory.





Bonjour vous êtes cordialement invité(e)s a l´inauguration de ma première exposition personnel au MAT Museo de Arte del Tolima. Jeudi 16 novembre 2017, 19h.

Buenos dias estan cordialmente invitados a mi primera exposición personal en el MAT Museo de Arte del Tolima.

Your welcome to first Art exhibition at the MAT Museo del Arte del Tolima, thursday 16 november of 2017, 7pm.

Relativo al tema de DEBER DE MEMORIA, y con todo el respecto, informo y invito las comunidades al evento cultural que tendrá lugar el Jueves 16 de noviembre 7pm en el MAT Museo de Arte del Tolima. Inauguración de la exposición pictórica del artista Francés residente permanente en Ibague Colombia, docente en Artes Plásticas y Visuales en la Universidad del Tolima, a la exposición: “14-18 Rh Lo que los ojos han visto (ce que les yeux ont vu.)” Laureado del Premio Municipal de Artes Plásticas y Visuales 2016 ( en el marco del PME Programa de Municipal de Estímulo a las Artes). Están cordialmente invitados. Más informaciones en mi página Facebook o en este enlace a la presentación escrita del proyecto. Haz click aquí

Gracias por su atención, cordial y fraterno saludo.



Buenos días. Los presente mis ultimas realizacion en creamica ancestral quemada con leña. Por encargo. contacto 3156329861. Piezas de 20 pesitos Colombianos a 50 segun modelo y acabado (liso sencillo y bruñido brillante fino).


Jour por jour Face a face d´ínconnus pret au massacre pour les interets d´hommes qui se connaissent et ne se massacrent pas!

Dia por dia, carra a carra de desconicidos que van a masacrarse mutuamente por satisfacer los interes de gentes que se conocen y no se masacran!

Day for day, unknowns soldiers ready for mutual massacre to the benefit of men who knows themselves and don´t killed each other!


“La guerre est un massacre de d´hommes qui ne se connaissent pas, au profit d´hommes qui se connaissent et ne se massacrent pas!” Paul Valery


Today it s a special day, it s the last full lunar eclipse of the TETRADA. I will be ready on the rooftop of my house to shoot this cosmic event.

Watch out this amazing FULLMOON RISING over Ibague city, Tolima, Colombia.

Super Fullmoon rising over Ibague, Digital photography. 500mn nikkor.

Super Fullmoon rising over Ibague, Digital photography. 500mn nikkor.


Hello, today I am proud to share the new method I have work on since two years teaching Perspectiv drawing at the Tolima University. The PERSPECTIVA ARTIFICIALIS INTEGRAL MATRIX It s a brand new original method that blend advantage of three others method, it s more accurate, more versatil for drawing manually complex set.

Thank´s for reading, best regards.


Today I have to add a category to my Artistic activities. I begun in Art with the practice of graffity in the mid 80´s in Paris France suburb. I was ten years old a friend show the classical and fatal artbook “Subway art” by Martha Cooper & Henry Chalfant. It was for me a revelation. Saddly I have very few pictures of the first pieces I did in this early stage. So will show a oldschool flavoured piece of my master and mentor in graffiti art.

It´s a kind of upwelling of past and unshowed works. Actually I am exploring other medium and process, but I still have in mind this stage in my life and works. It´s still present the spirit of this period. When and why I enter in matter with the Graffity and Zulu nation movement and why switch off. I grew up with this strong cultural influence, especially from the NYC scene. I lived with my hommies of the hood, this dream in our isolated popular neighbourhood in the outter suburb area of Paris city, very very far from the sunlight and the glamour appereance of the city of the light. We inmediatly recognize us in the Harlem & Bronx kids ways of identity expression, by tagging, painting walls, rapping and dancing. This mood is a state of mind that is screams the injustice, racism of the system. Screaming by the accesible ways of expression, the hanger that is generated to segregated in a ghetto.

In this first post, I am greating my old fellow friend and mentor  SHAOLYN. TCB (The Cosmic Boyz), that around 1984 show the hooly book Subway art and iniate me to graffity art. 28 years have passed and still have the sweet memory, and fresh flavor of hard and gooddtime blended. Thnk´s Fred.

ELY1-JACKSN. 1987. by SHAOLYN. TCB. Graffity spraycan on wall. 4x2.7 m. Fosse Rouge 94. Paris suburb. France.

ELY1-JACKSN. 1987. by SHAOLYN. TCB. Graffity spraycan on wall. 4×2.7 m. Fosse Rouge 94. Paris suburb. France.


Experiments I did during the painting of my desktop board. It was unexpected and the configuracion I install for protect me from the heavy sun rays, allowed shoot few pictures of some thematics I was interrested in, since I was student at the Lycee des metiers d´Arts du Gue a Tresmes, in the “Peinture publicitaire” dept, contrast between: MATT-GLOSSY . LIGHTNESS-DARKNESS. REFLECTIVITY-NON REFLECTIVITY.

In this series the ephemere is making it all, this hi glossynes state of the matter surface, just have few minuts duration, so the only way to make a trace, it s photography it, each medium in his own especificity. It´s a kind of feedback loop process where, painting and photography, inner and outter field of view , light and shade, are in a perpetual runaway.

Glycerosphatlyque paint on wood. 300x75 cm.

Glycerosphatlyque paint on wood. 300×75 cm.

14-18 RH #02

Second intent, with just oil painting. Well finally oil allow muddy mood for texture, but not allow so precise trace, cause it´s tooooooo long for dry, it wasn´t what i was expecting and lookin for.

furthermore I will blend the two type of paint (synthetic and oil) in two-phase 1.tracing light gray and black trace 2.gradient texturing of matter in muddy style with oil paint in semifluid consistency 3. background with oil paint in compact consistency apply with ruler pass…

Next will be the good one! Then I will begin the final series of twelve small and medium format, square and 1.6 proportion.

Oil ans synthetic paint on glass. 40x25 cm.

Oil and synthetic paint on glass. 40×25 cm.