The profuse & sovereign All
“The profuse & sovereign All” is a found and reworked object which leads to many temporary installations. A round mirror is engraved, covered by a pattern which I am used to call “fluxes”. A proliferation of lines extends itself all over the surface – disappointing any trial to grasp the center of the shape, which isn’t properly signified. In that, this object implies a critic against any monopolization or centralization of the power(s). Its reflecting materiality permits the fluxes to appear, half translucid - depending on the angle, double - on all possible fragments of the real. Everything is susceptible to be shown or included on the surface of the intercontextual piece. Consequently, a person, a group of persons, some natural or urban elements, animals, etc. can become empowered subjects, sovereigns in “The profuse & sovereign All”, if the observer’s eyes allow the artwork to fulfill its symbolic mission.
This multicolored painting on a big format is based on a triad of figures shaped and surrounded by concentric shapes. Achieved as a grateful & devotional ritual towards the cosmic forces, this painting evokes some energetic alignments to be realized inside of the human body - these give an access to a specific mode of being able to provoke a creative realization. As the famous entheogenic substance discovered by A. Hoffmann is commonly considered as a trigger for mystical experiences and other existential discoveries, this image, inviting the spectator to unveil it, reveals similar visions whether they are hallucinogenic or leading to the "spiritual" realm.
The performance «Centering» gathers a sum of slow mouvements coupled with deep breathings aiming to consciously balance the energies and to go back to the energetic center of the body, invigorating it and setting it as a socle. In the vedic and taoïst traditions, this center is situated about a thumb lenght under the navel. This graceful dance mixing intercultural elements was realized in front of the chapel on the Mittlere Brücke in the center of the city from where the women accused of witchcraft were thrown into the river. This ritual is performed with the accompany of the professional musician Hilarius Dauag, playing a tala (a rhythm with a definite number of measures repeated like a mantra) on his self built harp-guitar to support and run alongside the subtle operation.
This performance realized in the context of the exhibition at "Art des Hauses" invites each person of the audience interested to deliver one wish, prayer or incantation to be drawn. The person sits in front of me and writes it down silently on one side of the paper. On the other side, the wish takes shape, as I try to connect with the person and her intent, using a similar codification and pattern as for the drawings arranged on the walls. The piece of paper is given back as some kind of talisman. This free action tends to share the method of work which was followed in the concretization of the installation "Magic interventions in the Flowing".
Magic interventions in the Flowing
The installation titled “Magic interventions in the Flowing“ explores the intent coupled with coincidence, their interactions. These few drawings, parts of a series which is indefinitely thickening itself, see a similar pattern populating their surfaces as the background. Those sinuous lines, called “fluxes”, are traced as they are arising under the spontaneous impulses of the fingers, without any other premeditation than the ambition set before entering into the process of realization. Each drawing owns a specific title delivering the initial intent which is recalling the enunciation of a prayer or a whish. Those pieces evoke the human potential to influence, by the intentionality, the events in which we are taken as those papers diving into the fluidity of the currents.
Field of Mutations
A multitude of objects out of different technics regularly used in my artistic practice is gathered in Field of Mutations, an installation oscillating between a quite classical presentation making use of several white pedestals and a certain fragility considering the ephemerality of some pieces and the waste materials. Here, a few found objects – a piece of sanding paper and its heap of red pigments laying in the middle, a rusted bicycle chain, a paper roll out of a cash register covered by thin lines and an undefined curved plastic object – are holding a dialog with unfired clay sculptures and a video projection.
A series of three-dimensional organisms, which unceasingly modify their actual forms in a continuum of time, embody an ordinarily imperceptible movement. The rose colored form on the doric column stands for the ironical result of the hectic process of realization which is perpetrated into the video work. In this projection, accompanied by a saturated noise reminding of a case of emergency, a pair of hands is manipulating an apparently bloody mass of clay. These gestures imply efforts towards renewed settings, temporary crystallisations of a shape which constantly has to deal with collapses of its own matter.
The whole composition is built as an open and panoramic landscape in order to generate many paths of interpretation in the viewer’s mind. At the same time, it concentrates itself around a blurry centre, the notion of “becoming”. This word, as wide as a blank page, is therefore often relegated to the metaphysical realm. Those chosen fragments manifest diverse aspects of this term, definable as a constant process of transformation.
The ensemble aims to put light on the human potential to model subjectivities, to draw personal as well as collective trajectories. In the revealed fluid universe, this exuberant immanence field, what kind of operations could be triggered to liberate the current of life where it might present points of interruption or decrease? How to reactivate, in our times, in each situation, the crucial potential inherent in the artistic activity, its aptitude to unleash possibilities?
Faking the move
Undefined I, undefined piece
At the heart of this work, there is an undefined «I», a figure turned into the image of a generic human by a body suit hiding all personal features. This lonely performer is reciting, singing and shouting a textual script through this membrane of fabric. This declamation is accompanied by rhythms directly produced by tap dance shoes. It is a constant development of music, seen as a metaphor of the notion of becoming. The lyrics regularly repeat «here and now» as an anchor. Meant to be «meta», these depict diverse elements relating to the performance as a constructed situation: the undefined figure and her actual actions, her position towards the audience and her no longer secret intent to not let this performance remain a spectacle. Without having any precise melody or gesture to mimic, each spectator is solicited to use his own voice or tap the floor, adding elements to the running show. Therefore, its title takes on its full meaning as the piece effectively stands as an indefinite event, possibly varying each time of its occurrence.
This moving artistic proposition relates a repetition of patterns in the actual experience of someone. This person on board sees the vehicle successively taking off & landing in an interspersion of blinding lights, in panic, at increasing speeds and at various angles. The loop unceasingly unfolds and the subject, in the manner of Sisyphus, follows this trajectory, closer than the climatic changes.
Did we lose the chorus ? // Avait-on perdu la ritournelle ?
«Did we lose the chorus ?», translated from the french «Avait-on perdu la ritournelle ?», refers to the deleuzian concept of ritournelle, a melody or a rhythm repeteadly produced by an individual or a group in order to mark a territory. This single sequence has been shot in the country, at a location temporarily chosen by migrating chaffinches. Throughout the movie, the person filming is easily noticeable due to the noise made by the digital apparatus as well as breathing sounds stemming from the camera operator, struggling to follow the hectic motions of the flock. This sequence is superimposed on the musical piece «Epode». This «Chronochromie» composed by Messiaen combines 17 voices of various birds and matches them with the nervous swirls transporting birds from trees to sky, and vice versa. This collectivity obviously swirls into confusion as their muddled shifting potentially resonates with our society and its current state.
This acoustic piece, inspired by rites of traditional societies, emerged from the lecture of the chapter «Ritournelle» in Mille Plateaux, Tome II, an essay co-created by G. Deleuze et F. Guattari. The performance - conceived for at least 3 people - is build on three phases. These denote aspects of the Ritournelle as they are described in the book, where the concept is strongly connected with the production of territorial arrangements. Initially, each performer wanders alone in the space humming a little tune for himself. This personal chant acts like a psychic shelter, defining a place distinct from the chaotic world around. Then, the whole group gathers in a smaller perimeter to found a common territory. Here, each member gives his own melodic or rhythmic «seed», adapting itself to the flow of the ensemble, with the resulting improvisation progressively reaching an harmonic state. At the end, the performance is open to any spectators who wish to participate.
The adventurous journey of a young feminine figure is depicted in this video work named «Vault» in reference to the polysemy of this term; it can either mean a «crypt for a burial» or a «jump». This oxymoron succeeds in illustrating different movements included in this particular path. These coincide with various modes of being or temporary states of mind succeeding one another in this frenetic process. These symbolic events bring the figure from a wandering into informal waters to it is repeatedly trying to span a wall - until the advent of a new Self, nourished by the source. After all, what if water was flowing from her hands?
This unique sequence is based on one shot, which is more or less stable and remains unedited. The focus is concentrated on the current of a river, the Rhein. In its turbulences, swimmers pass by like passengers, carrying their luggage as if they were going on a journey or in exile - parsimoniously floating in front of our eyes, pulled along by the flow of the water.
Feats and remains of a demiurge // Prouesses et débris d’un démiurge
In these sequences, a figure whose particular features have been hidden under an integral suit stands on a white background, as in a «nowhere». In this costume which simultaneously incarnates nobody and a human subject «x», the silhouette blows with increasing strength into a small red bird made of plastic. Its tongue rolls out according to the invested air. The scene with evolving crescendo manifests expression as a fundamental aspect of every so called «process of creation».
Turning round, somewhere closer
This series of masks is based on the figure of a roman divinity, namely, Janus. This two-faced deity, representing antagonist feelings, consecrates the idea of «passage». From piece to piece, the number of faces increases until, on the third one, we don’t distinguish any particular features any more, all are transformed into sinusoidal curves. This project is understandable in diverse manners: as an installation, a performance carried out by masked individuals and, finally, as a participative environment which allows spectators to activate one or many of them. In this case, this artwork is an experience; for example, twirling around, one hand towards the sky and the other pointing to the earth, in search of a center in spite of the disorientation.
Fountain (in remembrance of B. Nauman)
A unique sequence constitutes this videographic work, a relatively static shot, unedited. The effort of placing the extremity of the fountain, a baroque opening, in the middle of the picture is easily noticeable. The only movements added to this constant return to the center are those of the water, moving at the whilm of the wind. Blasts of air play the role of interference in this gushing expression, or the distribution of the liquid.
This videographic work produced with the camera of a computer takes a feminine mouth as its main motif. At first sight, the lips are painted in a classic red before starting to move in a manner evoking seduction. Over a second phase, the woman traces 6 directions following many arrows pointing around her oral cavity, then applies makeup to her teeth too. This provocative act marks the metamorphosis of the previous charming moment into a tragic vision, where the red color suddenly becomes the flag of death and destruction. In a last phase, the whole image gets blurry and takes us in a space oscillating between a cavernous obscurity and the rosy luminescence of the skin.
Trotz der Wellen, ein Hügel aus Sand // In spite of waves, a heap of sand
An action and its repetition is documented into this video work. This simple gesture consists of endlessly reconstructing a heap of sand on the shore. At regular intervals, the crashing swell partially or entirely destroys the realized sculpture. More than exposing the real duration of a performance, this video includes editing work which regularly shifts the perspective and the location of the pile of sand, so that a series of unpredictable points of view is created. When the aggregate is finally left, a fisherman approaches. This intrusion indicates a return of the real which doesn’t cease to arise in spite of orchestrated parts.
The series of Utopian Bodies consists of organisms made from clay, shaped by spontaneous movements. This kind of process of realisation is what makes them «open artworks» - each spectator then might perceive different creatures & significations. Together, these three objetcs constitute a group or a micro-society. Each member has the competence to communicate through apertures, through some of the holes red ropes cross through to other members, implicating possible exchanges between these individuals. Moreover, this community is involved in a direct relationship with its environment. Under the influence of changing weather conditions, each of them endures constant modifications. This long-lasting event recalls the notion of becoming, due to simultaneous (re)creations and disintegrations.
Tale for Solstices (Lamartine reworked)
This project is a single piece using a found yellowed book by the french poet Lamartine, the third tome of a compilation. Here, it has been reworked by means of censure. All pages are more or less covered by traces of ink, either thin or thick lines. They form waves which allow a word or fragment to appear or plunge the entire surface into obscurity. The imprecision given by ellipses engenders many possibilities of interpretation. Through this process, a new poem emerges; an other tale is described, in which any lector can project himself and take part into the creation of sense. The prominent words were chosen in relation to what is called poetics - a process where life and death merge together - according to the black and white aesthetics of the book.
Cartographies - Poles & Fluxes
All these drawings adopt a similar aesthetic and a conceptual codification mostly composed of fluxes and poles shown in various scales. These imaginary cartographies manifest the notion of «being in the world» (cf. «être au monde»): a pole at an indefinite location – possibly where the spectator or the artist is positioned - or situations where they meet (except for the first group of the series where there are just thin tracks, almost imperceptible at a certain distance). Different formal and interpretative apertures emerge from these shapes, set free in their own proliferation. In this materia prima, intensities are floating, moving and are running around - these, as well as occurrences, are crossing and forming us. In congruence with poetics, taking part in this flow and influencing the vibrations, densified by our agencies remains to be our ability.
This pictural work, using figuration in a symbolic perspective, explores and shows different aspects of so called "processes of creation", specifically linked to the sphere of art or, in a widened sense, to gestures and expressions of individuals in situations met in the existence. By these representations of human fragments and ordinarily hidden movements of energy, this series of paintings evokes this background of the world where ideas are moving and intentions taking shape.
Here I am
This video is based on a metaphor which manifests an analogy between skin and a wall. It depicts some aspects of the economic situation - in the freudian or energetic sense - of an indefinite human person. Some textual fragments tell more about this theme, lending a voice to a personified flood barrier. In this way, these sequences demonstrate exchanges, taking place between these relative spaces called interior and exterior - mainly mental processes which take place in this «in between». Various forces are in action here, in this interstice where symptoms and utopias overlap until they succeed at creating nonetheless.
Modes of being: a typological Variation
These objects - neither veritably sculptures nor even masks - evoke the perceptive human apparatus so that physical senses resound with psychological faculties. They were conceived as modelisations of attitudes considered in the field of self-/interpersonal relationships and perspectives with which a person perceives the world. Each object includes playful changes in texture, form, density and opacity. This series tends to shape a collection of modes of being while displaying them as constraints, barriers and filters, as well as openings and attempts of expression. Parallel to these objects, a series of 35 drawings carries on with this typology, suggesting an unending development of the project. Laid out together in space in order to form an imaginary collectivity, these prototypes, hung up at the average height of any spectator, contain one person at a time. The installation offers the viewers the possibility of projecting themselves mentally into diverse attitudes or to actively participate by wearing exhibition pieces themselves. The precarity and fragility demonstrated by those pieces mainly made out of salvage can be considered as a way of «dealing with the given» also alluding to attitudes often adopted in life.
I, no-I // Je, non-je
In this videographic work, a figure whose features are hidden under a second skin - an integral suit simultaneously permitting the embodiment of nobody and a human subject «x» - recites a theoretical poem. The text principally constructed by oxymorons recalls the condition of the figure, the points of view of an «I» submitted to an auto-analysis about his relation to him/herself as to any forms of exteriority. A constant bass accompanies the voice close to one of a machine. Flagrantly androgynous, the person (etymologically, «one who speaks through a mask») is situated in undefined space, plunged in darkness and its shadows created by the textures from the fabric under the light.
99.9 % empty Space
This installation invites spectators to roam amongst these open heads whilst looking at serigraphies depicting an almost invisible pattern, the structure of a net. The number 99.9 in the title - which also refers to the giant blank space left in the installation - represents the percentage of emptiness constituting an atom «x». These heads were shaped without a model, so that their faces were formed by immanent gestures. As their gender is not mentioned, it does not play a role. Their shape, as a vase, tends to neutralise the classic antinomy of the interior versus exterior, building a bridge between them through the void. Therefore, these figures can be seen as multiple poles of a network reproduced on paper all around the space.
DISPLAY: One box with one spy-mirror side in which a video camera is placed .
EXPERIENCE: A vast range of people (35 persons including me) took part in an experience of introspection. Left alone and warned about the presence of the camera without any further indication, they were exposed to their own image and just had to look at themselves in the mirror for 15 minutes. Notice that it is not an easy task, which we generally avoid.
EDITING: In a second time, I selected a segment of 3-4 minutes per person in order to obtain random changes of portraits in the final installation.
RESULTS: This experience results in seeing mobile portraits, in which one finds indecipherable and minuscule facial expressions; a different yet similar world at the same time - stays hermetic and any thoughts remain mute. Many gazes cross within this room, trying to shed light on the problematic relationship everyone maintains with their own «self» and image.
In a previous series of drawings, a half-naked feminine figure stands amongst a profusion of structures, reminiscent of an eden where human and nature were indistinguishable. These sketches initiate a thematic work on the relations between the human species and its environment, by affirming its undeniable belonging to the so called «physis». This research induced a further installation where the vegetable motif, woven through shadows and blank spaces, is repeated on some transparent plastic surfaces. The previous figure is excluded from this micro-environment to give way to the silhouettes of visitors.