I let time instil…
… “How to decide for the subject of a book?... How to begin a chapter? How to organise it?... Is there a book giving recipes for writing?... 600gr of historical references, 1kg of sweat… bake it on a low heat, in a hot oven, mix in, sauté so that it doesn’t stick, avoid lumps, leave it to rest for three months, six months, one year. Stendhal wrote The Charterhouse of Parma in three weeks, Simenon dashed off his novels in ten days.
But how many times before had they borne and fed them when getting up, when putting on pants, when drinking coffee, when picking up their mail, when looking at the morning light spreading on the breakfast table, when counting the specks of dust in a ray of sunshine? Let time instil. Find our own instruction book…
What about me?”…
Katherine Pancol: “The Yellow Eyes of Crocodiles”
Imagine, create, conceive.
What inspires me for my creation.
The moods and the affects as a response to the presentation of the plastic form.
My research is the representation of what links the objects to be created in their spatial, descriptive, formalised, detailed, figurative, perceptive, present, narrative aspect.
And, the link of the atmospheric, enigmatic, floating, emotional, sensory, inner, nostalgic, dream, climatic, intense, disruptive, lyrical, aerial field.
The questions are:
Sincerity in the artistic and inner process, showing oneself, overcoming one’s fears and standards, make one’s sensitive part visible, describe one’s impressions.
The plastic figuration actually gives an opportunity to talk about something immaterial, that is not seen, which exists in the floating worlds and that touches the moods and the affects.
How to grasp the intangibility?
The sharing of the emotion in the moment, and the reality of the sensation felt given by this sharing: uncomplicated dimension of the artwork, generic feeling, giving the same thing to feel together from an intuitive emotion.
Which tools to describe the intangibility?
The choice of the figurative image which calls on the codes, the poetry and the individual emotion of the circumscribed dream, the contemplative, from the classical to the descriptive. I put inside the object what’s personal to me. The space describes the sensory experience produced: a close, evocative sphere, justifying the form.
The choice of the climatic dimension calling on deconstruction, an occupation of the de-closed, flowing, aerial, travelling space; space separations, positions above and under the subject, ways in and out to disrupt the space inhabiting, an intensification of the pictures, moving the stories, going against the norm: being absorbed in the random of the meeting.
Creating a form of language by undoing the environments’ rules. The external elements inflect a described, lyrical inner self. The flowing, enigmatic atmosphere depends on the way of living together. This is the discussion of time, common object of discussion creating the social play: attempt at singularity, nothing is original.
The wish through artistic practice: to touch the soul.
To reintroduce an ensemble of feelings and reintroduce poetry in the meeting with the work. Stepping out of the description and documentary fields in favour of sincerity. Reduce the sensitivity’s interface by sharing common affects and perceptions.