Bodies and souls
Since 2023
In my practice, I explore our environment through the body.
Inspired by my porosity towards our surroundings, my creations are like the pulse of our society, societal vibrations.
Bodies (builts, plants, minerals, humans, animals) are the structures of our society, its biological foundations, and they are currently dislocated, deconstructed, suffering. My works bear witness to their suffering, but also reflect on how to repair, heal them and thus weave links between humans and his environment.
I express states between vitality and decline, between destruction and reconstruction, between life and death, and reflect on the restorative power of the relationship between living beings, inhabited places, and natural spaces. This connection between biodiversities offers potential for healing and mutual transformation, opening up the possibility of new life.
I compose these morphologies by combining textile work made of stretched threads, knots and braids with steel or clay. The combination of a hard, rigid material with a supple, malleable thread brings together the organic, the visceral and the structural, the skeleton. The roped material supplants the original body, healing wounds like a graft, a tutor or a prosthesis. Unfired clay remains alive, in the making.
Each work is the result of a long time spent manipulating the material, in an organic process that keeps it vibrant, without seeking to master it or smooth its imperfections.
Bodies (builts, plants, minerals, humans, animals) are the structures of our society, its biological foundations, and they are currently dislocated, deconstructed, suffering. My works bear witness to their suffering, but also reflect on how to repair, heal them and thus weave links between humans and his environment.
I express states between vitality and decline, between destruction and reconstruction, between life and death, and reflect on the restorative power of the relationship between living beings, inhabited places, and natural spaces. This connection between biodiversities offers potential for healing and mutual transformation, opening up the possibility of new life.
I compose these morphologies by combining textile work made of stretched threads, knots and braids with steel or clay. The combination of a hard, rigid material with a supple, malleable thread brings together the organic, the visceral and the structural, the skeleton. The roped material supplants the original body, healing wounds like a graft, a tutor or a prosthesis. Unfired clay remains alive, in the making.
Each work is the result of a long time spent manipulating the material, in an organic process that keeps it vibrant, without seeking to master it or smooth its imperfections.
Healing
The act of repair, suturing, grafting restores bodies and opens up the possibility of new life.
Healing
The act of repair, suturing, grafting restores bodies and opens up the possibility of new life.
Depicting what we are experiencing, the lack of links & connections between livings, their environment.
My works lead us to reflect on the relationships we maintain, the care we take of material and natural things, bodies, and emotions.
The braided, knotted rope evokes the act of restoring, healing, and grafting organic and architectural bodies, thus questioning the restorative power of relationships between beings, inhabited places, and natural spaces.
Repair
The act of repair, suturing, grafting restores bodies and opens up the possibility of new life.
Repair
The act of repair, suturing, grafting restores bodies and opens up the possibility of new life.
Connect living bodies & souls whether human or non-human
Energy flows and relationships shape life but our society is dominated, guided, and disrupted by screens, instantaneity, and social media, which take precedence over conversation, words, and exchanges.
This neglect of human interaction, real connections, emotions, inner feelings, and caring for oneself and others leaves me wondering. Furthermore, I observe that loneliness, feelings of emptiness, lack of spirituality, and selfishness are becoming ubiquitous issues.
In my work, I approach these issues not through rational, mental analysis, but through my own intuitions and deep feelings. My body is permeable, porous to external vibrations, to the surrounding energy, to people’s behavior, to the way places change over time, all of which is reflected in my creations, making them mirrors of society.
My artistic approach is part of a philosophy of life, an active meditation just like the practice of horse riding.
Younger, the equestrian world has structured my daily life according to the doctrine of the Cadre Noir in Saumur, “calm, forward, straight”. Riding is an indescribable art that requires time, perseverance, sensitivity, mental strength, and communion with others and with our environment. It is not about performance but about creating a bond to surpass ourselves together.
In my work, I do not seek to show the equestrian world, but rather to convey the physical sensations, the essence of the link between humans and living animals, and the notion of care embodied in the relationship between the rider and their partner. Through lines, paint, and materials, memories come back to life, tactile sensations and feelings
About spiritual links
Layers and strata connect the past and the present, creating a thread between what has been, what is, and what is to come, and forming lasting roots. This is the power of construction, whether it be architectural structures, growing plants, or human and non-human relationships.
My works speak of these layers of thoughts, time spent shaping materials, textures, and colors, and listening to and following the spiritual vibrations that guide me.
