| ||As a sculptor, I choose the material, and the terms of its transformation to find their place in any given piece. The importance I allocate to the material and to the creation process is keeping with the renewal of contemporary textile arts and with the mediology theory (Debray, R., 2000), which considers the material as preceding the idea. Thus, I highlight the importance of the original gesture, of its historical roots and of its situation within the History of humanity.
This orientation is developed within a hybrid practice in visual arts, referring to scenography, trade arts and crafts, through the work with different materials (textiles, paper, everyday objects, wood, metals, ceramic), and through techniques (assembly, sewing, collage, nailing, interweaving, casting) that are commonly simple and require patience and minutiae.
The materiality of the pieces create a haptic relationship with the visitor, where the sense of touch is solicited and where kinaesthetic sensations foster the feel of the materials and their properties, the perception of one's body in the environment and the power to transpose oneself into elements, as one does while looking at a garment on a hanger.
Through this approach, I render a body present despite its absence, implying it through garments, furniture, tools and material and cultural environments, its counterparts and developers. Thus is evoked the human, its complexity, its vulnerability and its impermanence.
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L'arbre est dans ses feuilles, detail element no 1, Photo Michel Gauvin
Resilient no 3