Tell us about yourself and your work.
I was born in 1979 in Montpellier. I studied Fine Arts in Nîmes and Poitiers, where I completed my Experimental Video degree in 2003. I mainly work between Tulle and Paris, but also across Asia and Europe. I am dispersed and late.
Even though I come from the Image world, I have always been more involved with the one of Music.
My work oscillates between Image, Sound, Space, everyday objects and organic materials.
My first realisations were experimental fictions questionning the place of the woman and her body at different levels : her fantasized organic body, her body as a semantic vector with the world, and her social body.
Since 2007, I have been producing audio-visual installations in former places of worship, turned into exhibitions buildings (disaffected and deconsacreted churches). Consisting of videos projected on plexiglas structures accompannied by an original soundtrack, the «Fille du Calvaire» project explores the need for believing of our societies (religious or profane creeds), to gather around icons and to create communion rituals.
– «Fille du Calvaire #1 – Eglise Saint-Pierre» linked together ritual and cultural gathering: techno parade pilgrimage (screening of the 2008 techno parade), Cannes festival ‘starlets’ photo shoots, reality TV confessional, applauses dedicated to the glory of rock-stars.
Fast and ephemeral pleasures. The reign of entertainment within a «No Future» vision.
– «Fille du Calvaire #2 – Des Maux pour Demain» evoked the cult of progress, fantasised aspirations induced by the ever-moving progress, thoughts around a dishumanised, robot-centered future, where would only be stimulated the will of man to stay in tune with the endless evolution of the new technologies he generates, a man who is always late on the next thing to come, only realising himself by consuming in order not to be outdated. This was inspired by the selection of words within the framework of «the week of the French langage et francophony 2009».
The Cult of «Progress».
– «Fille du Calvaire #3 In Vitraux» talks about the possible utopian aspirations created by political, environmental, mystical, social, scientific etc. realizations within a group. Individual awareness processes, «in vitro», end up agreggating in an «in vivo» experience, survival and resistance mechanism of a group towards the ruling ritual, in order to achieve a better world.
Utopia vs T.I.N.A. (There Is No Alternative).
After composing the soundtracks of my videos, I have been composing non-illustrative sonic creations since 2009. Nevertheless, they intend to inspire mental images. Based on field-recordings from my travels, they are sound narratives, audio sketch books, attempting at following the actual chronology of the recordings. These ambiences are entangled of musical creations which are a westerner’s standpoint in front of the locals’rituals and way of life. Besides, I realise some multidiffusion sound walks and original soundtracks for theatre and dance creations. In my work as a visual artist, I utilise relics from my body (teeth painted with my blood in a stained-glass way between plexiglas plaques, shreds of my skin stuck on glass plaques, woven hair) and relics of everyday life by recomposing broken affective objects.
Where does the inspiration come from?
Pretty often, from my own travels. My awareness of things seems to be sharpened by the constant state of movement provided by the travelling process, when things are not yet assimilated.
Because I am not anymore in the unconscious and automatic state of the everyday life.
Abroad, I discover new sounds, I am more observant of the world around me. Here, I am in the whirling of the everyday life, distracting my awareness.
Which is the need of your art? (technical, but also timing, situations, places…)
A video or photo camera, an audio recorder, allow me to record reality anywhere I go and prevent me from having to start working with a blank sheet.
Then a «home» with a computer to compose, edit, arrange these sources. There are 2 creative stages : first, the complete «letting go», non-judgemental. Then, the arrangement part, with artistic and technical choices.
Finally, the exhibition place which imposes the setting. There must be a natural resonance or «ring». A good sound system. Projectors powerful enough for late afternoons…
Time, I never have enough of it, too many projects getting behind.
Tell us about your experiences in art fairs, exhibitions and others.
I never show the same things twice. Installation, painting, live sound creation, every project is linked to a specific time and space. As a result, every creation requires more time, energies, money, making it often impossible to cover the expenses. For my sound creations, I share my stories on a french label called “Musiques Immédiates”, also available on line, and sometimes during ‘music naps’.
What does it means the art for you?
The freedom to say something about our era, maybe even participate (like a drop in the ocean) in its evolution towards more humanism.
What do you think about the art system in your country?
As soon as public money gets in the game, the speech can be perverted, Art can submit itself to entertainment even to Propaganda. Nevertheless, money is necessary, too many artists giving up their art in order to survive.
What is the future of art?
I don’t worry for «creation», but Art is just a piece of the great all-capitalistic world. The gap widens between those making a very good living and those who don’t get enough sales or budget to carry on their researches.
If Art always have been a good investment, today it’s become a speculation product, waiting for resale, more profitable than real estate market.