Since his earliest childhood, Tomàs-Ulysse has been mixing with the World of art. But his encounter with a major work, Les Demoiselles d’Avignon, which was sent from New York for the great Picasso retrospective, was a veritable triggering influence.
With his end-of-school certificate 'in his pocket', he went on to a university course on Plastic Arts in Paris I Saint Charles, run by Michel Journiac, at the same time as an apprenticeship in the workshop run by Georges Jeanclos, a professor at the Beaux-Arts de Paris. Throughout these years, among 'the great', he met Jean Degottex and Jean Bazaine.
In 1991, he was selected and lived at the Casa Vélasquez in Madrid, then run by M. Pérez. On his return to France, his meeting with the great art critic, Marc Le Bot, formerly a professor of current art history in the Sorbonne and a friend of Francis Bacon, motivated him and led him to enrol for a thesis.
Since his first exhibition in Trouville-sur-Mer, during the 1990s, his work evolved towards 'moderate neo-expressionism, combined with conceptual representation', sometimes permitting himself 'the luxury' of producing installations (Arles, 2003).
His installations and his sculptures, as pictorial (also digigraphies), offering areas for reflection on current problems, more specifically social and environmental: aesthetics, semblance and trend, refusal to accept natural ageing, solitude, 'celebrity icon' and vanity, the role and consequence of human activity on the animal and plant environments. These concerns, very present in Tomàs-Ulysse's work, find their source in a summary of his travelogues, and expected encounters, desired, with the inhabitants and especially oriental and African.