The most extreme of our paradoxes will consist in proving that the voices of water are hardly metaphorical, that the language of water is a direct poetic reality, that streams and rivers sound with a strange fidelity the silent landscapes, that the rustling waters teach birds and men to sing, to speak, to say again, and that there is in short continuity between the word of water and the human word. – Gaston Bachelard, Water and Dreams
I like to think of my work as an elastic material to be shared, which unfolds through different media, painting, sound and installation. My research focuses on the living and the ephemeral.
In painting, I explore transparency and fluidity. I use water abundantly, as an agent that is both dissolving and revealing. I favour the immediacy of the gesture. My works freeze once they have been made. Water allows me to compose my canvas, which gives the paint a fluid texture and allows the drawing to be free. The painting results from a game between my gesture and the liquid, a process in which this element always has the last word. This method forbids spending more than a few hours on the same work, it invites the execution of quick and precise gestures, always forcing me to a certain form of urgency.
I conjure up an aesthetic of slowness, of drip by drip in gentle immersion. I invite the viewer to observe attentively and listen silently to the work in progress by observing the random movements of a snail, the musical tracking of its trajectory, the flow of water in a river. The slow degradation of the mobilized elements questions our relationship to time and to the living.