An excellent book just published in France. You're unlikely to see any of those films, but at least they came close to existing. By Simon Braund - Publisher : Dunod.




15th February - 31st March 2014

Meet the artist on Saturday 8th March, 5-7pm


76, rue de Rennes, Paris 75006

Metro station St Sulpice








At home, a couple of paintings feel neglected.

Don't pull these faces, mates, I know you two aren't going to L'Arlequin, but there's worse company than Alfred and Alma, isn't there.








As the economic turmoil is striking hard and everyone's morale seems to be down in the dumps, growth and hope are back in the studio, in the shape of several exciting projects !


Four paintings are currently in progress in the studio. Each movie is set in a different era, has a different genre and nationality, with as always a specific attraction for dramatic stories. For the first time however, I'm painting a romantic film. It isn't a genre I normally favour, but when a fan of Films de reve contacted me and suggested I created a movie poster starring Robert Redford and Romy Schneider, I couldn't resist the great idea. What with the plot I made up taking place during the Nuremberg trial, stricly speaking there's more drama and history than romance in the script I wrote, but wait until you read the full story and... see the painting !


Working on four paintings at the same time is new to me, but at the moment ideas are springing up every five minutes and I have to stop myself from starting more works. Painting with oils is a labour of love ; between each layer sufficient time must be given to allow the paint to dry, so each canvas goes through alternating painting/drying sessions - drying periods being much longer usually. Thus working on several pieces allows you to always have one ready to take in your painting assaults. A tough time for my elbow, coming out in tendonitis again. I think I'm right in saying that somebody somewhere under similar circumstances might have said at some point something like: "Out of suffering have emerged the strongest souls", so yeah, I'll go for that with my sore elbow. Oh, and he (Khalil Gibran as it is) completed his sentence by adding that "the most massive characters are seared with scars. " I DO bear a half an inch scar on one knee after a bad fall from a ladder when I was three. Does that count ? I wish I were strong and massive, you see.






25th February - 31st March 2013


Cinéma L'Arlequin

76, rue de Rennes, Paris









13th January - 24th February 2013


Cinéma 5 Caumartin

101, rue Saint-Lazare, Paris






25th August - 10th November 2012


Cinéma des Cinéastes

7, avenue de Clichy, Paris


Twenty paintings on exhibit.








1st January, 2013.

May all your most megalomaniac dreams come true.






The October 2012 issue of the magazine StudioCinéLive has enjoyed the Films de Rêve exhibition at the Cinéma des Cinéastes.


Have you ?


Read the article (in French) >>>








My next painting will feature a number of lead actors selected by the public of the Cinéma des Cinéastes. They took part in the creation of their own dream movie in a vote organised during the exhibition. The most voted for combination was :

GENRE : Drama

DIRECTION : David Lynch

STARRING : Charlotte Rampling, Harvey Keitel, et Romain Vidal


Two people had voted for this combination of criteria, so I 'l now ask them both if they wish to apear in the "movie". If they do, they'll have a role in the film and have their name on the future painting !


A few months later... Here we go : a picture-poster of Night and Dawn, with Romain Vidal, the winner of the competition, playing Mark in the movie, Rampling's and Keitel's son.









10th April - 25th June 2012



Commune Image, 8 rue Godillot, Saint-Ouen

18 paintings on show.











October 2012 in the studio of Films de Rêve


Films de Reve has had ups and downs over the last few weeks.


The media have started talking about the project and the exhibition, which is brilliant. In the meantime though, the production of additional films/pictures has been literally nil. Admittedly I’ve been busy working on other artistic projects, but when I did have some free time, somehow inspiration failed me when it came to picking up my paintbrushes. Not to worry though : an unexpected and stimulating encounter (not of the 3rd kind, but undoubtedly of an unusual kind) has put me back on tracks.


I’m discovering Iranian cinema at the moment, and I now know for a fact that I’m going to create an Iranian Films de Rêve. In fact the genre, director, actors have been identified, and the pitch is almost completed. Ok, the hard (and exciting) work starts now. This week the French television took an interest in the exhibition and contacted me to shoot a 3-minute report for a morning programme.


My father may not be your typical Film de Rêve fan, - strictly speaking, I’m not sure he’s what you can call a fan of the project -, but since he was staying with me in Paris on that day, he asked if he could come along too. A couple of days earlier the singer Natalie Dessay was on the French radio and I heard that she’d brought her dad along for the recording. He was there with her in the recording studio. Well, then, why not take my dad along ? (the comparison with Dessay stops now – I’m a mezzo anyway.) Introducing my dad to his favourite morning journalist Sarah Doraghi (he’s been watching the show she appears in for years) was a great moment of the day. I’m not sure what she made of it, though... Beury Senior took his leave soon after the handshake with his darling TV reviewer and left his daughter to face the cameras on her own, like a big girl.


He’s been making jewellery since he’s retired, and I wouldn’t be surprised if he was this very minute working on a new pendant or pair of earrings called “Sarah". As far as the TV report on the exhibition is concerned, it’s going to be on French telly on Channel 2 (France 2) on Monday 5th November, between 8:15am and 8:45am. Dad will be watching - me ?








May 2012


Did you know that a canvas will remain blank if you stay behind it long enough ?


O inspiration, where art thou ?

Thursday 23rd August 2012


Let the show begin ! The exhibition is officially starting next week, but the installation of the artworks was completed yesterday. Now it's done and over with - phew! A rather stressful day for me, with plenty of more or less pleasant surprises.


The hightlight of the day ? Surely being arrested by the police in the rented painting-packed minivan I drove right through a red light (I hadn't seen the traffic light at all, for those who may wonder whether I drive like a typical Parisian, not taking much notice of road signs and lights. I do - take notice of them. I only enjoy eating while driving.) So we left at 8:30 am for the gallery (located only about half a dozen miles away), and were back at home at... 5:30 pm - when I had imagined it would only take a couple of hours.


Despite the mishaps of the day, I can say that yesterday has taught me a number of things :

1 - Do not eat a pain au chocolat while driving through Place de la Nation in Paris (the blasted pain is directly responsible for the road fine I now have to pay.)

2 - Did you know you have to sign your driving licence in France? I didn't. The (admittedly nice) cops who stopped us didn't seem to believe that you can live at one with the world for 17 years without signing your driving licence.

3 - Draw a list, actually in writing, of all the items you need to take with you to ensure the smooth installation of your artworks. Do this BEFORE you leave your studio. Then you won't have to go back from where you came halfway to where you're going, to pick up posters, banners and other bits and pieces you've forgotten.

4 - If you're exhibiting in a cinema open to the public while you're there hanging up your paintings, i.e. gaily banging and hammering away, find out the times of the film shows. Otherwise, you might well be told that you must stop drilling holes and sticking nails in the walls while the film is playing (Argh. Indeed.) So you end up with a TEN-MINUTE slot between two shows to finish up the banging job at a Benny Hill-like speed,. I can now say that hanging 12 paintings in 10 minutes is possible - with a two-hour preparation, that is.

5 - Getting into a tiny parking space in Paris with a minivan that has no window at the back (who are those car designers?), is also feasible - it was definitely a day for geat achievements. Even more so if you're a calm lady driver, I may add - take that and smoke your pipe to any male driver who's sniggering while reading this.


Yesterday, once again I felt both pleased, proud and... slightly uncomfortable at the sight of my artworks on display in front of people who don't even know me! Whom I don't know! It'll never cease to amaze me how unsettling the experience can be. The whole thing creates contradictory feelings in me, something in between embarrassment and amazement. To suddenly realise that this side of my life (painting) I had considered as very private for such a long time (25 years) is now "exposed", literally, is disconcerting. Naturally the gratification we all seek from the public when showing one's artworks remains necessary in our search for self-accomplishment, but to me the whole process proves as uncomfortable as it feels necessary. A shrink would probably make sense of all this in 5 minutes.


SURVEY Films de Rêve

December 2012







The picture isn't 100% completed, but I've decided to put it on show at the exhibition nevertheless (subsequently to the tremendous pressure I was under from you fans.)


It's not varnished yet so you can see for yourself at the Cinéma des Cinéastes what an oil-painting looks like before it's coated in varnish.








In the Films de Rêve studio, Tuesday, 10th July 2012


He's tiny, he's naked, he's swimming... He's on the next painting of Films de Rêve.





Tuesday 10th July 2012


This week proved very productive, with seven-hour painting days and hardly any subsequent back pain (admittedly, once you accept to wear those terribly homely and equally ugly tourist-like trainers, life seems more comfortable all round).


The leading characters are now placed on one dimensional areas of vivid colours. With oils it's usually possible to turn the initial colour into a duller, darker, more blemished shade, or to blacken it and/or remove the lightness from it with the next layer of paint. It's much trickier however to give a colour more brightness without simply painting the colour a shade lighter - which never works when you start out with too dull a layer underneath, anyway. So the initial layers on the canvas must be as luminous as possible, highly saturated. Well, that's the way I do it.


A number of oil colours have a limited covering power. For instance dark shades at first sight are expected to cover pretty much any other colour, while in fact they come out totally see-throught on the canvas, altering only the previous layer of a tint, a delicate shade. Naturally these colours prove totally unsuitable to cover any previous layer, but the fascinating side of it is that you'll still use those colours to ALTER slightly the previous layer in some way - and this is 90% of the excitement of painting with oils; each layer alters the previous layer, it never covers it.


At this stage, it must be said my job has more to do with drawing rather than painting - or perhaps, an ecstatic though careful daubing of colored liquids, as per predefined areas, would be a more accurate description of the work. The picture-poster becomes so suddenly alive at this stage that the session never fails to bring me an unexpectedly fulfilling sense of accomplishment. Though if I were a little more fastidious in my selection of feelings of self-gratification, I'd know that at this stage the real work hasn't really started yet. The hardest (the best!) is yet to come...



He's massive, he's hairy, he keeps dry and warm during the breaks in the studio - he WON'T feature in the next Film de rêve picture.







In progress, 1st June 2012


First layers of the picture currently taking shape...Nothing shall be revealed at this stage.


What a funny face, a funny nose...


Anything to do with a remake of The Incredible Hulk, perhaps ?