In the late 1960s, he worked as an engraver in the Maeght studios and then in the studio he shared with his cousin Sam Szafran, collaborating with masters such as Riopelle, Joan Mitchell, Henri Michaux, Miró, Calder, Giacometti and Vasarely. This technical experience considerably enriched his mastery of all printmaking processes: wood and copper engraving, lithography, and screen printing.
His style, inspired by Delacroix, Cézanne, and Picasso, draws on the expressionism of Toulouse-Lautrec and Edward Munch, while revealing a pictorial power close to Emil Nolde. Situated at the extreme edge of the neo-abstract investigations of the New York School, his figurative art carries this "expressive madness recalling all the specters of murdered Yiddish culture," according to the writer Hubert Haddad.
An alchemist of the color black and celebrating bodies in an eroticism "as raw as it is ghostly," he displays a polymorphous dexterity evoking Max Ernst, moving seamlessly from miniature to larger formats. A great reader passionate about the intersection of artistic expressions, he developed vast pictorial suites around Hugo, Balzac, Alfred Kubin, Kafka, Tadeusz Kantor and Bruno Schulz.
His deserted urban landscapes explore "the futuristic underside of perspective" in the tradition of Cézanne, while his dreamlike genre scenes evoke Goya. Since 1977, his exhibitions have multiplied: Galerie Nina Dausset, European Parliament, Musée Victor Hugo, Maison de Balzac, as far as New York and Amsterdam.
His works have been acquired by the National Fund for Contemporary Art, the European Parliament in Strasbourg, and the Museum of Contemporary Art in Luxembourg. Commentated by Carlos Semprun Maura, Pierre Daix, and François Cervantes, he also collaborates as an illustrator on numerous publications, perpetuating through art the memory of a vanished world.
