A presence, a mirror. All my plastic production starts there. This presence is most often that of my own body. I do not seek to make self-portraits, I seek to make the experience of the other. By passing through the mirror, I establish a distance between my self and this other that I seek to become. The mirror serves here as a screen, a filter. Even if it is not always present in my realizations, it is always present at the time of the catch of sight and what I give to see is only one image (drawing) of an image (photograph) of an image (reflection).
Through my production, I explore themes such as our multiple identities, appearances, intimacy or body language. 93% of our communication is non-verbal. So I get into the skin of a character and I often improvise a movement, an expression. Of this reflected body what interests me is its expressiveness. Its capacity to communicate. Deformations, distance, various points of view; the reflections associated with a precise angle of shooting allow me to become this other, without great artifice.
I paint. I draw. I like to alternate mediums, but for the past year, I have devoted myself exclusively to charcoal. Simple, volatile, natural, it is a real carnal pleasure. The bodies I represent must be as realistic as possible, close to the photographic model. If we add to this the different shades of gray and black, the sensual grain that this material leaves on the surface of the paper, I obtain images that pass, at first glance, for photographs. This confusion associated with the content of my images seeks to question our gaze as an uncertain and ambivalent experience that we have on the world, on ourselves and others.
Works of art in position