When Plutarch writes “painting is a silent poetry and poetry an eloquent painting”, he raises again the eternal debate between the Sisters Art[1]: what does visual art provoke that writing may be lacking, and the other way around, and what do they have that can nourish or is taken from their sibling.

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    This dialogue between the arts has been revisited through the years and the mediums, and their merging reveals the same desire of making visible, both to the senses and the mind. Where three-dimensional art plays with its sensorial and instantaneous impact, literature reaches temporalities that only an assemblage of words and ideas could provoke and trigger. But at the same time writing seem to be lacking some for of embodiment, and some form of instantaneity. It's in that search for completion that photography and cinema pushed further the limits of the sensible, the tangible and the imperceptible worlds, giving birth to new forms of representation, reinventing the phrasing of perception, imploring the art scene for a renewed way of seeing and sensing, “converting in power what was only possible”.[2]

    Union of mediums thus gives a way of renewing and merging sensorial perceptions with intellectual mechanisms, moving forward a completion of seeing, that is at the core of my practice, exploring the different triggers engendered by the artistic use of time, space, movement, language, structure, representation and subjectification, and their corrolation. My research is exploring from this juxtaposition a renewed way of making visible[3]: a sight that would both impact the sensorial and (un)counscious mechanisms, the psychic and the palpable, researching along history and mythology ways to narrate nowadays identities and stories. 

    

    My work questions the body, space, perspective and the composition of physicality. While looking at temporal approaches, through movement and structure. It deepens a psychological research on the self, on the “I” as a physical and abstract component and trigger of time and space. Hence for me, the highest pick of instanneously-sensed-thaught sight may, if it ever could, be reached only by instinctively merging all of the above: and the culmination of the arts, and the completion of palpable structures, temporalities, conscious and unconscious triggers.

    It is towards this completion of seeing-sensing that I aim to turn my art, towards that instant of pure, vivid, eternal effect, of an image, a sound, a word, a silence, a movement or the ultimate incorporation of them all. My practice is therefore a hybrid genre, exploring the completion of the arts, opening anew the quest for “making visible”, both to the senses and the mind.

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   From words to images, here is my work for you to see.

 

[1] In the terms of R.W Lee, metaphor the relation between visual and litterary arts.

[2] Personal translation - “convertissant en puissance ce qui n’étais que possible”, Gilles Delheuze, Cinéma 2, L’image-temps.

[3] In the terms of Peter Hanke, the quest of his character Sanders in La Leçon de la Sainte Victoire.

-developped subsequently. -

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