Exhibitions 2012–2024

After I began leading manga workshops and courses, I was invited to exhibit my drawings to show the public the Manga Manuscript .

Exposition, Médiathèque à Romainville, Ile-de-France

Since I had completely stopped drawing for nearly ten years, I wasn't very enthusiastic about the idea at first.

One day, a conversation with some children made me reflect.


They saw manga in a way that was very different from mine.
As we talked, I realized why: we simply didn’t share the same literary references.


Western art often draws from Greek mythology or the Bible, many manga is largely inspired by Japanese mythology and traditional tales.

So I decided to reinterpret one of the most well-known Japanese folktales: the tale of the Crane.

My goal was to invite the public to discover one of manga’s roots through its characters and narrative structures.


But I didn’t want to present it in the traditional manga format with frames and speech bubbles.


I had met many people who found it difficult to read manga because of the Japanese reading direction.

Art du Japon, Château de Lourmarin, Provence-Alpes-Côte d'Azur

That’s why I opted for an approach inspired by Kamishibai, a form of Japanese paper theater that uses illustrated boards to tell stories, a format particularly suited to exhibitions.
At the organizers' request, I gradually added other tales.


I also created color illustrations linked to the world of manga and Japanese animation, which many people naturally associate.

Espace Japon, Paris

Since my first presentation of the Crane tale in 2014, I have created five folktales and four Japanese myths, which I’ve exhibited over twenty times through 2024.


While preparing these exhibitions, a strong memory came back to me:
my time in the late 1990s and early 2000s as an assistant to a manga author in Japan.
I remember the first time I saw hand-drawn original boards on professional paper.

It’s that original emotion I wanted to share through these exhibitions:
the beauty of the lines, the precision of the details, the power of black and white, the white gouache corrections…


All the elements that disappear in the printed versions of manga pages and deeply moved me.

To create these works, I intentionally used traditional manga techniques, such as nawaami or kakeami, crosshatching methods that are almost forgotten in the digital age.


Le nawaami

It was my way of paying tribute to the history of manga and to those who helped shape it.

Finally, by choosing the exhibition format, a space often visited by people who don’t usually read manga, I wanted to build a bridge.

Exposition SOLO, Galerie l'Angélus, New Art de Barbizon, Ile-de-France

I imagined each piece as an accessible entry point where one can feel the visual poetry, narrative richness, and cultural heritage of manga, even without knowing its conventions.

That’s where my artistic path took on a new and deeply personal dimension.