TEXTS

STATEMENT

I have always wondered why, during my walks, my gaze, would firstly and consistently registercertain shapes rather than others. A need makes itself felt; that of capturing, reframing, reshaping or even assembling these shapes, by injecting a possibly missing element: my feelings.

This scopic drive towards shapes which, in my opinion, silently designate the places they form, leads me today to reflect plastically on their identities, that which constitutes them, their origins and their meanings. Filled with a desire to elude conventional forms and their functions, I displace, superimpose or combine, in an attempt to blur the boundaries between different areas of perception : particularly between functional and decorative, where I attempt to highlight the tension existing between the worlds of industry and craftmanship. The forms and concepts which I try to re-visit via sculpture and installation, offer for the most part a labyrinthine visual path combining architecture, biology, geology, machinery and objects of all sorts, from popular culture or otherwise. With this intention of creating hybrid objects, I question, in a poetic and personnal way, the status of the form as well as the sign, their constitution, their sphere of distribution, their function, their use, and the relation one can establish with them.

The exhibition space is regulated by certain rules of play. It is a game of composition and construction of the space, both theoretical and empirical, where, even while I am playing the game of positionning and hanging, I try to underline not only the attitude of the objects in an ensemble (i.e. the interaction of forms within a specific territory) but also the physical qualities of the materials used, and their mythical connotations. My “sets” become invitations to wander in the « landscapes » that I construct. Set landscapes both closed and open, inviting not just a simple glance, but a longer look towards the inside of things. An ensemble/“set” which, in the dynamic of a defined spatiality, makes connections between things and which is without a doubt predisposed to conversation.

My artistic practice essentially is engaged in the field of ceramics. Appreciative of the many ways of treating and modeling clay, and enchanted by its various characteristics, I relish its great power to induce voluntary aphasia, stimulating the senses, especially the sense of touch. For me ceramics is the means by which form is continually inventing itself as an experience; the tangibile experience of an often ambiguous relationship between my hands and matter, between my imagination and physical space. For me, therefore, the imaginative process nearly always has its source in this medium with its multiple and varied qualities and inherent energy before being fixed by form, a form immanent in the instant and which opens empirically the poetic dimension of the finished object.

My work, therefore, is an attempt to reveal a transcribed world, or often even fantasized. A composed, stratified world; a world of sensations, impressions and recognitions. A world of poetic forms which aims to recall the vastness of submerged systems and structures, analogies, orders or jumble. A world of ladders and bridges.