Essence of Thought
I started with an observation:
First, writing drives sense, permits communication, and transmits
Second, the underlying interpretation
of any text depends heavily on the context;
Third, the visual materiality of a
work is not limited to its first appearance, it inevitably integrates
the parameters of its conception, be they technical, intellectual, or
In these circumstances, it can be
pertinent to reason:
individual reason sublimating itself for a greater number.
Questioning leads to gaining a
consciousness that takes a narrow view of things.
Nothing moralist, nothing idealist, but a simple wrenching in the heart
of our certainty.
approach questions established values, by proposing a reading of willful
To explain concisely, we are surrounded by codes which allow us to
communicate and evolve; writing is one of them!
I doubt absolute truth and prefer, by far, the random reality of
I work to propose an image that directly obliges the viewer to interpret
The text exists, the contents are known, but the visual expresses an
incomprehension. The work
encompasses diverse parameters: texture, dynamic, hearing and
I limit myself to producing a continuous line, stemming from the heart
of will, as we are what we wish to be - even if we cannot overcome the
Every work of art holds within itself a certain aesthetic, be it desired
or de facto; the notion of “beautiful” encompasses each person's
I work with the reality of what is nonsensical.
Color, materials, medium, as well as application are all elements
revealing an independence of spirit.
The essential is only perceived if we linger; little by little, we
forget one signification to discover the possibility of another.
My work, as a challenge to plastic evidence and a receptacle for
constructive doubt, presents the absurdity of any affirmation, so that a
multitude of questions may blossom.
I remain persuaded that every act has its own pertinence.
Artists have the duty to act without restraint and without
complaisance because their work is the reflection of their reality:
a parallel world whose only demand is to communicate to be
Over of course of
more than twenty years of working, I have been interested in humankind.
I needed a means of expression to
convey its fragility and its force the most faithfully.
After multiple obvious - thus vain -
attempts, I got snapped up by the text: without completely breaking away
from tradition, but carrying along a reading which brought me sufficient
enough elements to build a world where nonsense made sense.
I began with texts from magazines, or
diverse press articles that I reworked to give new life. But after a few
years, I was always creating one-of-a-kind paintings and this distension
with my perception of life began weighing on me.
But after few years,
I only created single works and the distance between them and my
perception of life started to be heavy.
Therefore, I wanted
more global works, where finiteness would have no value: a work could
coherently follow, complete itself, swell in its own multitude.
The ensemble of my work revolves
around the Bible, a text which does not belong to me, but becomes a work
I and of itself though plastic application.
I integrate diverse
techniques to explore rhythm, time, and space.
Only a determined
ensemble can constitute unity.
The choice of works
which will create the exhibition remain most subjective because there
are numerous possibilities for presenting an ensemble and the produced
effect depends on an intention which essentially remains temporarily
My work is a visual
proposal of an hypothetical alternative. I adapt a reality to offer a
possible. Content remains but the general shape moves, slides to the
limit of understanding.
Since 1999, I
recopy, among others, word for word the Bible on different media (paper,
canvas, methacrylate, wood, etc.) using different techniques.
The ensemble is currently composed of
1/ The New Testament
The Old Testament
The 10 Commandments
4/ “The Adaptive
first part “The New Testament”
is made of an
original and 12 numbered and signed copies.
The original is made
on 290 sheets of standard machine paper, in felt-tip ink.
The New Testament is
recopied word-for-word in French, but the letters are every which way,
one after the other. There is no punctuation and the scratches are
writing errors, accidents contributing to the rhythm of the page.
Some sheets are illustrated with
line-themed drawings: a
continuous line starting from a cross and ending with an arrow.
Two binders placed
in a wooden box contain the ensemble.
Each of the 12
copies is composed of:
a copy of the
original text, with each page numbered and signed on the back;
2 binders, with a
unitary painted cover, where the 290 copied sheets are classed in
chronological order, and inserted in transparent plastic sheet
a wooden box,
containing the two binders, with a sliding, Plexiglas cover, On the
side, the names of the 12 Apostles, the number of the example, and the
signature are engraved using pyrography.
12 digital photo
frames scroll through all 290 pages at staggered intervals, with each
diffusing a different sound.
Concerning these 12
sounds half comes from common object recordings and the other half of
soundtracks taken on the net.
This package creates
a visual and acoustic cacophony where public must look carefully to
identify and recognize yet what is familiar.
Presentation of the
Its presentation is
variable; it may take on different forms depending on the place, space
and will of the moment.
The objective is not
to propose a static visual hung up or placed in a gallery X or Y. My
goal is to create an atmosphere where the visitor comes to a world that
it recognizes, identifies without problems but whose codes are slightly
moved, shifted, noises accompany texts and light also contributed to the
that of the pages
is conceived starting from photocopies made from them, which are then
stapled directly to the wall. The dimensions of the installation vary,
depending on the number of elements we wish to show. They simply give
the visual to a subjective proposition in a determined place;
the 12 frames are
presented against a wall;
containing the two binders is placed on a white painted pedestal in the
center of the room.
Ordinary copies of the 290 pages,
stapled on the wall, thus form part of installation which offers
furthermore, 12 digital picture frames fixed to the wall, scrolling
through all the pages, looping back and offsetting. Each frame has its
own sound to create a hubbub where the spectator is obliged to move
towards more closely to define its origin and its characteristic but, at
this time, is the image loses...
The second part
“The Old Testament”
is made using
different mediums and several
The dimension of
each element may vary.
In the same fashion
as for the previous part, I recopy The Old Testament word-for-word.
Each work is
numbered chronologically, but their presentation does not take that into
consideration, only the formats matter in
I use formats that
allow me to present the work as a real installation; I am not concerned
with the execution date of the works but simply with the link. Example:
we can hang on a wall a set of 50 paintings of 40 x 50 cm. with a 5 cm
gap. between each (10 aligned horizontally, 5 vertically), there is thus
a 4.45 m. wide and 2.70 m high visual unit.
The third part
“The 10 Commandments”:
I recompose a
commandment using all of the letters which compose it and assemble them
randomly. The letters are made in 3 dimensions using diverse materials;
they may be attached to each other or simply placed according to whim.
The number of
letters corresponds exactly with the text but its random assembly
prohibits reading it, at least its basic sense.
Example: the 6th
Each letter is made
from synthetic foam (approximately 80 x 100 x 15cm). They are then
placed one-by-one without taking their ordinary reading order into
consideration, simply par the malleable whim of the moment; the ensemble
creates a temporary volume which remains subjective.
The fourth part,
“The Adaptive Creations”:
I realize a work in accordance with a text suggested to me by the
Thus, the work
takes into consideration the place, spirit, and function that its
placement must exteriorize. The texture, color, and dimension, as well
as its positioning remains a unique proposal which systematically
includes my interpretation and that of the spectator.
are identifiable, but its reading, impossible. This allows me to propose
a redefinition of our codes beyond a more-or-less aesthetic, plastic
appearance, allowing—I hope—a greater number of people to approach
contemporary art with interest.
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The 2d Commandment : « Tu n’auras pas d’autres dieux que moi et donc, tu
ne feras pas de sculpture ŕ l’image de ce qui est dans le ciel, sur la
terre ou sur les eaux et tu ne te prosterneras pas devant elles car je
suis un dieu jaloux »
162 letters of paper 205 x 135 x 25 cm.each (8.07 x 5.32 x 1.00 inches
each) Acrylic paint
Total size : about 90 x 90 x 150 cm. (about 35.43 x 35.43 x 59.05