How would you define what you do?
I make unusual musical instruments represented in Renaissance paintings, both Italian and Flemish. I didn’t learn from a master, I wasn’t given any method suggestions. I’ve been guided by curiosity, empirical knowledge and commitment.
Do you have a favourite wood?
Every wood is peculiar and the artisan has to use all his senses to understand them. Above all I like to use readily available wood: poplar, beechwood, ash, walnut and cherry wood. While maple and spruce are typically used by luthiers.
What is a memorable moment in your professional life?
It was when I met Alan Stivell at a Celtic music Festival in Brittany in the early 80s: we began to work together on sound, trying to innovate an archaic instrument like the Celtic harp, in order to meet the musicians’ need.
What do you like the most about what you do?
Most of all, I like to communicate my emotions through my works, transforming them into something tangible: sound-making objects. Particularly I want to tell the young that these instruments are legitimately part of our musical culture and can be taken in a new context.