I started working as a photojournalist at the age of 14, before I devoted myself to art projects in which the analysis of the daily and infra-ordinary became the tool to move along the borders of public space. The series Habiter les images was the start of my artistic approach. Image employed as a space to inhabit. Objects reproduced in full scale can be used by those who watch, there- fore they are inhabited, completing the action as suggested from the image in front of them. Also temporality is suggested, there is space before, during and after the action just evoked. In the series Bruits de fond action in space has gone, our gaze is shifted to what remains of the action, the scraps. Those “noises”, which are commonly considered defects of the recording – corrected on photoshop, are the object of my search. What disappears quickly escaping the eye because it’s uninteresting, what is unremarkable is fixed and recorded, becomes a work of art.
Les paysage(s) du possible(s)
The crux of my research is to explore the space borders between the possible and plausible, and in order to do that, I need to consider doubt in the idea of representation of the ‘supposed’ real, and create images that remain in balance. Doubt generates possible spaces of creation, as uncertainty of temporality reigns in the produced image, where past present and future can easily co-exist. The creative process often starts by accident : a leaking drop of oil, toothpaste that spills from the brush, the flow of water on dirty dishes. I put myself in a relationship with fragments of reality, fragments of material in transit, as soap bubbles take on new forms that last a few seconds. Ephemeral spaces, set in their insecurity by an instrument that records: the camera.
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