Notes on my practice

Any work of art, whether a sculpture, a drawing or a performance, reveals spaces. A network of relationships unfolds or is being woven between language and space, between the work and the viewer, or between the gestures and the practice that created them.
My work consists in a series of experiences seeking to settle in a territory of various interconnections, gesture, and media.

My drawing books are contemplations about things to come as well as imprints of memories of the past. The principle of repetition, present in the fragmentation of gestures, bodies or feelings, is also a reflection of a certain transition – an obsolete yet obsessively persistent formula.
The whole illustrates the topography of an activity – intellectual and physical –, composed of an infinite number of micro-gestures striving, without success, to restore the absent body (or bodies).

The gestures and acts in my sculpturing work are organised in the same way, using fragments searching for the value of the whole, the duality of the object and its envelope, an ever-reversible imprint. The poetics of dismemberment, the questions of skinning or membra disjecta, are all subjects where the concepts of the double, the trace, the perishable, sensuality, memory, and transformation meet and mingle.

Finally, the performance that agitates, imitates connections that will never come to be or feigns fictitious reality. Gestures – them once and again – are staged to simulate or even replace the scope and forms of all these spaces, some prehistoric and some yet to be invented.
The real is never presented for what it is, but for what it becomes.

It is perhaps a memento of our times that it is once again possible and even necessary to devote one’s entire work to a dialogue between the form and its appearance’.