After obtaining his degree in Political Science in Toulouse, the artist undertook a radical turn towards artistic creation, following the revelation of the American abstraction movements and informal art in the 1950s. These influences marked his beginnings in the field of non-figurative work.

However, his approach gradually evolves towards a process of liberation from this initial influence. Around 1960, he adopted repetitive procedures, superimposing calligraphic grids to "structure the informal". Through the use of airbrushing, he moves away from pictorial subjectivism. At this time, he joined the activities of the Lettriste group.

From 1968, the art critic Michel Tapié became an ardent defender of his works, particularly interested in the concepts of "sets of signs" and "abstract spaces". The critic organized important exhibitions in Paris and Italy, including the artist. In addition, he participates in the creation and events of the “V.Art” Group in Paris.

In Toulouse, he sparked the creation of the “Painting-Iteration” Group (1975-1979), directing his experiments towards an in-depth conceptual exploration of abstraction, necessary in the face of the exhaustion of some of its forms.

Present from the first superpositions, he explored the third dimension in 1978, sometimes used to create pictorial reliefs. From 1983, he oriented his practice towards more radical solutions by replacing the concept of composition with that of Algorithmic Distribution. This approach shifts the intervention of the subject from the domain of immediate aesthetic reactions to that of the development and application of systems generating works.

From 1990, he adopted an original computer program, created from his own formal theme, as part of an empowerment of the image, a major issue of our modernity.

In 2005, his works were represented by the Newmark Gallery in San Francisco. In 2019, a retrospective of his career is organized in Nérac, France, offering an in-depth look at his exceptional artistic development.