I study the gesture of fabricating artistic images. This approach starts with the drawing gesture, which appeals to me with its simplicity of materials and the vast domain of practice. Drawing can after all extend to other practices. It can merge with three-dimensionality, time-related processes, and finally the living experience itself. If drawing is used as an anchoring point, my main question is how to study one’s own artistic gesture. How to find the words to talk about one’s own creative practice. How words and gestures finally intertwine in a lively creative process that shifts perpetually outside its original projection. How do words influence my work with the matter if the latter invites to silence? How do such questions finally transform my gesture itself? 

I search for an absence at the heart of every attempt to signify our experience through making forms. This presence of an absence lies at the heart of every gesture, as I try new mediums. The hand that traces a form using a pencil, the needle that pierces the paper or perhaps that weaves, the molding process that copies and extracts a part of the world, the shifting of perspective that happens each time we set apart a piece of the world to form an image, they all evoke something of this “common dispossession” of which Marie-Joze Mondzain talked about in regards to art. I dig further, and the surface of my medium becomes my working terrain, as I try to capture a "beyond" that is here, yet it keeps evading any attempt to pin it down.

[1] Marie-José Mondzain, « L’image entre provenance et destination » dans E. Alloa (ed.), Penser l’image, op.cit, p 66.