What fascinates me is this gesture that opposes gravity, and more broadly, the forces of nature, which are only movement, transformation, fluidity, and the creation of a new world.
forces of nature which are only movement, transformation, fluidity,
infinite passage from form to informality.
My practice is mainly focused on sculpture and installation. I am interested in human desires to erect matter ever higher, to want to control it, to make forms that are intended to be perennial in an ambition of power and eternity. What fascinates me is this gesture which opposes gravity, and more broadly, the forces of nature which are only movement, transformation, fluidity, infinite passage from form to informality. My interest is particularly focused on the moment when this nature, paradoxically fragile and ferocious, comes to harm these constructions. It is this tension that is at the heart of my practice. Most of the time, my pieces are held in a precarious balance where everything can fall apart. Moreover, I often conceive of antinomic relationships between the materials, which causes the forms to fall or disintegrate forms as they fall. I create pieces that are often massive but with shaky foundations, based on vain gestures for vain forms.
It is this tension between the will to control and natural forces that is at the heart of
of "Where the Desert Meets the Rain 2". Composed of various water containers - bottles, jerry cans, watering cans - that have been moulded and then fired in earthenware that has remained raw, this installation highlights the impossibility of containing the forces of nature. Water is a formless, fluid, elusive element in constant motion. Its characteristics make it the element at the origin of the fragility of matter, in our natural and urban landscapes. The containers present in the installation, because of their materiality, can no longer contain anything. Some of them have even been filled with water beforehand to
to start their progressive subsidence. The water gives the earth back its informality, both of them the other nurture a tumultuous relationship.
These fragile forms are stored on steel shelves, which draw a rigorous grid in the space.
a rigorous vertical and horizontal grid in the space; a sort of collection of contemporary vases. The motif of the grid, which can be found in the drawings of cities, architectural constructions and even concrete reinforcing bars, as well as in the consolidate the material, as well as in scientific graphics, is for me a symbol of human rigour, of its will to master. These cold shelves of almost perfect geometry are formally opposed to the decay of these frail earthen forms.