From the Field to the Drawing

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.

  • The Atlas Project

  • The Echo Project

  • The Brightline Project

  • The Northgrid Project

An Eye for Detail

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.

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.