He joined the Ars Technica Association connected to the Cité des Sciences et de l'Industrie uniting philosophers, artists, scientists such as Piotr Kowalski, Jean-Marc Levy-Leblond, Claude Faure, Jean-Max Albert, Sara Holt, Piero Gilardi, reflecting on the relationship between art and new technologies.

In the 90s, he was considered one of the precursors of HDTV beside Jean-Christophe Averty, David Niles, Zbigniew Rybczynski, Jacques Barsac, Pierre Trividic, Hervé Nisic.

In 1992, the Centre national d’art et de culture Georges-Pompidou showed his experimental movies and videos at the Cinéma du Musée curated by Jean-Michel Bouhours.

In December, 1993, at the request of the 35mm laboratory Les 3 Lumières, he inaugurated Switcher Vidéo Band, an experimental multicameras captation in Le Palace, Paris.

[4] Recommended by Olivier Bontemps and Christophe Valdejo, two art directors of Gédéon and founders of the agency View, the Italian photographer Oliviero Toscani offered him, in 1995, the management of the department Cinéma-Vidéo of Fabrica,[5] the Research center on the Communication of Benetton, based near Venice.

He created concepts of documentary series of which Le Travail en questions,[10] a collection of 10 × 52 min animated by Ariel Wizman and Francis von Litsenborgh,[10] were broadcast on La Cinquième.

His experimentations delve into his personal archives of films and videos, stored over time, in order to compose visual and sound arrangements specific to each session.