At the beginning of the 1970s, Kelixte was fifteen and already practiced drawing, painting, sculpture. Guided by his father, an amateur photographer, he began photography, developed his films, and produced his prints. He wanted to study the fine arts but faced with his good results in scientific subjects, his teachers and his parents pushed him to follow a less risky path. At the end of his studies, after a year-long hitchhiking trip on several continents, it was in electronics that he began his career.
Many temporary missions make him travel throughout France. Between missions, he has time to devote himself to photography in a personal approach without seeking to make it a source of income. He very rarely shows his production.
At the end of the 1970s, he was close to the far left, got involved in the fight for free radio stations and worked alongside very aggressive feminist movements that would deeply mark him. He does a lot of nude, quirky, incongruous self-portraits, and works in a more or less conscious way on what then doesn't really have a name but will become gender identity.
1984, he engages in studies of psychology, and can give more body to this research. The context of the time was reluctant in front of the feminism and in complete ignorance of what would become the gender studies. Feminist discourse was an aggressive monologue that accepted no exchange on a new way of conceiving of gender relations. Kelixte feels isolated. He shows his photos to several magazines, but the male nude was still scary (Psyche).
1988, his electronics career took him to french Guiana (South America) to work at the space center.
1991, after acquiring a Sinar 4"x5" camera and training in shooting and studio lighting in this company, he changed his profession to devote himself to taking pictures : Illustration, architecture, industry, events, press (AFP, AP, Gamma, Reuters).
From 2004, with the appearance of the first digital cameras, he returned to his personal research. He seeks simplicity, intimacy, naivety of the gaze, strives to rediscover what is permanently available. The workshops he gives to a diverse audience will greatly help him to deconstruct professional habits in order to regain a certain innocence of the gaze.
Since 2016, he has been classifying and highlighting his archives containing many photos never shown and continues to take pictures according to his own interests areas.