Les Brigittines, Brussels’ Centre for Contemporary Arts and Movement, asked us to rethink their visual identity after a successful pitch. We built an identity that opens up their communication and can host different visual worlds from season to season. The identity is direct and accessible—allowing each season to take on its own character without losing consistency. For the 25–26 season, the visual was drawn by comic artist Thierry Van Hasselt, selected by director Charles Vairet. The brochure was printed with a duo & fluo pantone. This project was done in collaboration with Axel Villarreal.

YU, Souvenirs d’un pays disparu is my diploma project. After my grandfather passed away, he left a box of family archives that told the story of his life in Yugoslavia—a portrait of a country that no longer exists. What was it like to live where “unity and fraternity” reigned? Before Milošević, Tudjman, Srebrenica, and the Dayton Agreement? In this book, I hand the mic to my grandfather, to those who knew the country, to those who resented it, to those nostalgic for it, and to those who never asked themselves the question. The answers to my questions—if they exist—can be found between the lines and photographs of the book.

Art Brussels wanted to update its static identity into a digital design system. The challenge was to evolve the identity without losing what makes it recognizable.

While at Base Design, I worked on Art Brussels’ 40th edition, giving their logo a playful 3D twist. The number forty inflates like a balloon, celebrating four decades of fairs, parties, and shared moments in the art world. This project was a collaboration with Arthur Dubois and Aurore Lechien.

While working at Studio MWelfringer, I contributed to design work for Quinzaine des Cinéastes, the independent section of the Festival de Cannes. I supported the team on layouts and visual adaptations for the catalogue and website, and prepared photocalls, programs, and other festival materials—helping carry the identity across different formats with consistency and care.

Sorcières provides an overview of the history of witchcraft: from witchcraft trials to literature, from the demonic figure to the friendly witch of pop culture. Through a blend of art, history, and folklore, the design celebrates the enigmatic allure of witches and their deep-rooted affiliation with the moon.

Ara Radio is Luxembourg’s first alternative radio station. I developed a flexible design system for their identity, where the space between “Ara” and “Radio” expands to make room for catchphrases, images, artists, podcasters, musicians, events, and more. Just like the radio itself, the logo adapts to welcome a wide range of voices and content—creating space for different people to take part.

Les Temps Vécus is an exhibition commissioned by the Centre culturel du Brabant wallon. Through Gaël Turine’s photography, it questions our relationship to time. The portraits feature individuals who have chosen either to step away from the capitalist hamster wheel—or to fully embrace it. The visuals echo the movement of the clock, evoking a sense of perpetual motion.

Project 5 description goes here...

While working at Studio Michel Welfringer, I worked on the redesign of LuxFilmFest’s visual identity for its 15th anniversary. I developed a new graphic direction that moved away from the festival’s photo-based approach, building a identity with strong colors and placing their iconic logo at the center.

Energy Observer is a vessel operating in complete energy autonomy, serving as both a laboratory and a messenger for ecological transition. For its new expedition, I was hired as a freelancer by Base Design to create a dedicated one-pager documenting the journey. The page had to launch in time for the UN Ocean Conference in Nice, which meant working under tight deadlines. I reused and adapted modules from the original website designed for the first expedition—ensuring consistency, efficiency, and a seamless user experience.

Mudam Go is Mudam’s twice-yearly booklet for children and families, explaining the exhibitions in a simple, engaging way. It’s filled with games and activities meant to be completed, drawn on, and played with. Since each edition features a different illustrator, I designed a layout that can adapt to changing drawing styles while remaining consistent from year to year. This year’s illustrations were drawn by Fanny Dreyer.