Biografia
By a substractive method, I isolate elements of various origins, like a flowing ink mark on a window, a colorimetric detail, or a cutter stroke on a subway seat. They become a catalog of raw materials, a playground for discussion and reflection, in which I can tap in order to restore these fragments of reality in sculptures, or installations.
As hybrid samples that form sets or kits, these elements serve me as a repertoire in which I can pick. Because they are porous, all the techniques I use help me put on stage, in space or highlight these objects, in order to create connections or reveal paradoxes. My work comes to questioning the very concept of sculpture, and its relation to the notion of image, both of which attempt to coexist.
Whether in a White cube, a wasteland, my workshop or even fictive spaces on paper, all these elements come to modulate them, finally asking the questions of the domestication of an art piece in everyday’s life, and that of its materiality at the very time everything tends to its inverse. They also question the multiple associations of ideas and pitfalls of perception that invite us to reassess our own criterias for understanding forms, and their cultural backgrounds.
These traces of flowing liquid, lacerations, engravings, dirt, or ephemeral events for society, are up to now many aesthetic markers feeding my artistic practice.
