Inspiration is not a subject. My plastic work is first of all nourished by several very different lines of research: applied linguistics, history, poetic experience, topographic anatomy, mathematical and algorithmic concepts, as well as topology.
On this cloudy ground grow the words that come to me and the attention to the words of others. Words, verbs, adverbs, statements of actions and perceptions, I draw from all this a collection of emotional data. They generate a drawing that is neither figurative nor linear but produced with the disproportion of the sensible.
You can find below the main lines of my plastic approach to share what animates it and the way I create.
v.t. make a mark on what you want to remember.
Notation: n.f. action of indicating, of representing by a system of conventional signs.
My creative process always begins with wandering of the mind and crossing a journey. My primary plastic material consists of thousands of notes in my notebooks. Meticulous notes when they observe, messy notes when they transcribe emotions. Notation is an attitude to the world: to capture, to float, to welcome, to open up to the emergence. I transcribe into words the reception of the words of others, I note things heard – a poetics of the everyday and of the encounter – I put into words the sensations born out of the confrontation with the outside world – collection of emotional data, compilations – I sketch what my gaze captures in a to-and-fro between focus and astonishment – correspondences between forms, lines, structures.
v.t. : draw the contour of.
Sedimentation: v.i., to be affected by a sedimentation process, the phenomenon of deposition of particles in suspension.
I then recompose all this material in the workshop. The chronological gap between the collection and notation of data and the creation in the workshop means that they only remain as traces, strata, marks, sediments.
Contours, geographies, spaces, territories are recurring formal subjects. It is necessarily an experience of duration, oscillating between permanence and minute metamorphoses. This is why serial work occupies an important place in my practice.
v.t. let see, be the mark of.
My drawing is non-figurative but not abstract. It moves away from representation to reveal structures and foundations. It is focused on the hollows and the interstices. My favourite subjects revolve around questions relating to otherness, its intimacy, its bodies and its landscapes of existence. It is about drawing interiority by creating several levels of sights on the bodies. I produce a drawing and a geography of the infinitesimal and the intimate.