Lumière · scène
Arts
Before products, there was the stage. I design lighting and direct live shows — the same craft of shaping how a room feels, which I now bring to product.
Lighting & stagecraft
Le Spectacle des Lumières
« L'histoire de l'impossible. »
I founded, led, and directed the first Spectacle des Lumières — a student-run son-et-lumière that turned the campus and city of Compiègne into an immersive theatre of projected light, sound, and staging for a live audience of thousands. It started as an idea most people told me was impossible: I built the team, raised the funding, designed the show, and put it on stage.
What began as one impossible night became a tradition that endures at Compiègne to this day, and it earned the «Assos d'or» prize from the Compiègne City Hall for its cultural contribution. I was completing my engineering degree at UTC the same year.
The show
In the record
Memory & light
Un siècle de Mémoire à Royallieu
1913 – 2016
A year after the first Spectacle des Lumières, the student association I led — the Société du Spectacle — was invited to create the son-et-lumière for the European Night of Museums at the Mémorial de l'Internement et de la Déportation, the former Royallieu camp in Compiègne — one of wartime France's largest deportation transit camps, from which tens of thousands were deported. We staged it in the Jardin de la Mémoire, in partnership with the Mémorial and the Fédération Nationale des Déportés et Internés, Résistants et Patriotes.
« Un siècle de Mémoire à Royallieu » follows one nameless man across a hundred years of that ground — the barracks built in 1913, the Great War military hospital, internment and Resistance under the Occupation, the Liberation, and finally the duty of memory. Five acts, projected in light and sound across the memorial's walls, on the night of 21 May 2016.
« Souviens-toi de mon histoire, de celle de tant d'autres encore, et rappelle-t-en pour bâtir l'avenir. »
As president of the association I led the project and designed its light and video — the projection mapping, the chroma-key compositing, and the cue-by-cue lighting that carried the audience through each act. It is the gravest subject I have ever put on a stage, and the one that taught me the most about restraint: when the story weighs this much, light has to serve memory, not spectacle.
The show
« Un siècle de Mémoire à Royallieu » — Mémorial de Royallieu, Compiègne, 2016. Photos: Richard Dugovic · Compiègne et Arc.
In the record
Theatre & spectacle
Teatro da Paixão de Cristo
I designed the lighting for the 2025 Passion of Christ at the São Peregrino parish — a ten-act staging that carries the audience from Gethsemane to the empty tomb, with a choir, live orchestra, and soloists. I wrote a light for every scene: violet for Lent, a single lantern in the garden, red contrasts for the scourging and the blood, gold for the “perfected priesthood,” and the shadow of Herod's court thrown across the wall.
It's the same craft as the stage in Compiègne, a decade on — telling a story in light. One person in the crowd put it simply: “A iluminação deixou tudo espetacular.”
The show
In the record
Lighting and stagecraft are where I first learned the discipline I now practice in product: shaping how people feel in a room. A cue lands a beat early or late and the whole scene changes; light tells the audience where to look and what to feel without a single word. Directing spectacle taught me pacing, restraint, and the fact that the audience's experience — not the machinery behind it — is the only thing that matters.
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