Visually impaired since I was twelve years old, I have learned to see differently. I have always questioned the notion of look and phenomenology. How things appear in front of my eyes? In what way the message is interpreted,
distorted, disrupted? The first difference lies at the heart of the vision.
Because at one time or another, there is an event. Something occurs, comes into the world through my altered vision. The apparition. I have always played with body, nature, perception.
A poetry of distortion.
I use words and images to explore limits and create hybrid universes in which my deep interest in anatomy, botany and zoology shines through. I create paradoxes, additions that subtract, upheavals and shifts. I invent composites, I modify scales, abuse boundaries and rigid rules of perspective.
From the word is born the image. First of all, there is the text, tangible proof of the idea to be explored, and which frequently fades behind the drawing. Ink is my favorite medium, the one with which it all begins. Other techniques can help support the concept, but the crude and symbolic contrast of ink on paper remains an intrinsic necessity in my artistic creation process.
My explorations rarely translate into a single image. The multiplicity of experiences and results fully participate in the course of the idea’s transcription. I tend to establish visual collections of dots, lines and flat tints from which my own perceptions are born.
I like to cheat my illness, a method of trying to control my helplessness in the face of its inexorable degradation.
Like a challenge, my little revenge.
I have fun with the dangers of the limit.
I live for a few moments in the dark.
I always see in the blur.
Disturbed body and blurred vision.