Edge area, footbridge and stilts. Meander. Deltas
Meanderings, sinuosities, circulation of fluids, breathing, bones: what constitutes us and what constitutes the world is what I make sculpture with. What I am looking for intrinsically - not by will - is a presence, something alive that stands in the world, anchored and aerial. An autonomous form that passes through me but that comes from elsewhere; which bears a trace of the world, as something ancient or of the outside; vast.
Working with wood by direct carving is a relationship of body and energy. It is a process, a co-evolution with matter; a relationship of beings-in-the-world. It is to be in relationship with the elements and principles of world-building.
Feel decentralized. Like a tree. To move forward entirely, with space, with all the power of that which is not revealed, visible, named – but which exists. Leaning on the wind or on instability, I feel that it is solid because it is alive, fundamental.
There are contrary movements and forces; My work seeks to combine these forces, to order something of the [chaospoetic], to understand how I can make it grow horizontally, vertically and obliquely, in other words: to stand upright, on stilts, in the wind. To stand upright, leaning on the moving world.
To carve shapes as obvious as a bone or a meander, without it being neither. It's not a representation of something. I am not looking for a form, it comes through the process itself, through the circulation between the material and the gestures of carving, from the oscillation between the forms or information that I emit and that I perceive of wood, a living matter, charged with memory.
To be as if suspended between forces. A free crossing of words and images where supports are created and collapsed as a form is produced. The sculpture closes in on itself but it is not a finished object, it is stopped at a given time: the end of the experience.
Meanders, sinuosities, deltas, cliffs, lagoons, basins. Path, road, vein, river. These notions involve an extremely rich vocabulary, particularly in terms of energy. As a corollary to the sculptures, I started a research in painting - with a time and energy very different from the size and a photographic approach. Through painting I can see these shapes, approach them. I work with materials and drawing. These are sketches through which I graphically and pictorially explore deltas, cliffs, lagoons, meanders, basins. Path, road, vein, river.
Between paintings and sculptures, it is the emergence of a border zone. A way of being porous. It is a fragile, protected, political area (due to human activities, otherwise it is an ecosystem, by definition self-sufficient). A zone on the margins, unbuildable, unstable, in constant oscillation. A zone where human intervention is conditioned by its attention, its need to be in this oscillation with the living and the non-human. He has to consider a lot of things, to be a team. There is a beauty in this cooperation.