From the Field to the Drawing
Missions across the Middle East, Central Asia, Africa, and North America
Before becoming an illustrator, you first have to understand archaeology as a practitioner. I began my career as a field archaeologist in Israel in 2003, during my studies. That first mission left a deep mark on me — the old city and its ramparts, the smell of spices in the streets, the muezzin's call, the winding alleys of Jerusalem, the mix of languages and cultures. I fell in love with the Middle East.
Missions followed across several continents: Africa (Cameroon), Asia (Iraq, Iraqi Kurdistan, Qatar, Saudi Arabia, the Sultanate of Oman), and North America (Alaska). I worked as a field archaeologist throughout, until my passion for drawing took over — I specialized in archaeological illustration starting in 2011.
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![Archaeological fiield survey in the United Arab Emirates]()
Fieldwork-survey, UAE
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![Traditional mudbrick wall restoration using straw, camel dung, and clay render, Saudi Arabia]()
Traditional mudbrick wall restoration using straw, camel dung, and clay render, Saudi Arabia
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![Archaeologist carefully excavating a human burial on site]()
Excavating a burial in the field-UAE
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![Recording fieldwork data under a tarp shelter during rain, Alaska]()
Fieldwork doesn't stop for rain — Chandalar Lake, Alaska
An Eye for Detail
Stella from the archaeological site of Risqeh dug by Diana Kirkbride, North Arabia (Louvre museum).
I've been drawn to detail since childhood, and scientific illustration suits that temperament well. It was on a dig in Alaska that I decided to commit to drawing more seriously — sketching on-site, then training myself further in Canada. Back in France, I refined my technique in CNRS laboratories in Lyon and Nice.
I draw pottery regularly, but lithics hold a particular fascination for me — a more technical exercise. The smaller the piece — a flint, a microlith — the more I'm struck by the skill of the person who made it centuries ago. I also enjoy drawing objects, where I have more room for artistic interpretation.
Stella from the archaeological site of Risqeh dug by Diana Kirkbride, North Arabia (Louvre museum).
Photography
I'm also drawn to photography, and I take detailed shots of artifacts during missions to support the archaeologists I work with — using scale bars, a black velvet background, and natural daylight. I also carry out photographic monitoring of site structures, returning to the same views mission after mission to track their evolution over time.
Picture 1: Al-Yamama, Saudi Arabia.
Picture 2: Ceramic jar from Oueili, Irak.
Picture 3: Cunéïform tablet from Kunara, Kurdistan.
Picture 4: Bronze sickle sword, Ayn-al-Dila, Saudi Arabia.
