I consecrate most of my time to making and I still reserve a small part of my time to restoring, because it seems essential that I continue working on old instruments and plunge myself into the diversity that exists in quartet instrument making.
In the same mindset, the former great Italian masters are obviously an inspiration, but my peers are equally so, and it is also through our exchanges that my work continues to evolve.
When choosing a model, I redesign it by using François Denis’ tracing technique and sometimes modify it to give it a more personal touch.
Beyond the compass being a pleasure to use, it also allows me to understand very precisely, the curves and their sequence, to visualize the proportions of the instrument and to draw logic from it. This will then be the vector of my choices, notably concerning the placement of the tuning fork or the tracing of the gills.
