As a child, Nane started to draw from an early age during the holidays with her grandparents at their home in the Basque country; she would sneak in secretly to look at the drawings done by her grandfather, a cabinetmaker....

Completely self-taught, she ploughed through the museums and galleries to try and understand the different techniques.
Several themes such as the embankments in Bordeaux, the forests, marines, still life, intimist scenes, the souks in Marrakech, the port of St-Jean-de-Luz, etc... were worked on.
In 1980, the painter Jean-Claude Dauguet, from Bordeaux, taught her composition and how to layout a painting.

Her figurative painting has become, little by little, more personal and more liberated. The exact expression of her feelings when faced with a subject now counts much more that the subject itself.
Rising, transcending, enlightening - these are the reasons why she paints and lives.

When the theme is the body, she hounds its appearance so that its unutterable fragility may be understood.
Movements are pursued with a greater and bolder freedom in order to develop a chromatic consistency.
When Nane starts a painting, she drifts in to structured abstraction, she visualises all angles and then allows herself to be guided by the shapes and the colours. She progresses step by step with new emotions and when faced with uncertainty, she does not hesitate to go over it again, to add changes, to distort.
Obstinate and stubborn, she superimposes the final touches until she feels a sense of satisfaction and well-being.
Her dream is to be able to paint with her eyes closed so that she can be rid of whatever is useless, staying with just what is essential and having the least means possible at her disposal to express herself.

>Wouldn't that be the magic of painting?