In my recent artistic production I question myself about social identity and network concepts between forms and human beings. I elaborate plans of establishing contact between people through performances that require the participants to wear clothing/sculptures, which I have created. All the suits I make are destined to be worn by more than one person at a time. The clothes connect literally between themselves or are simply sewn together. I am thus interested in various fabrics, various colours and systems of preparation to create interactive clothes.
My over-garments take on a life when worn by the participants who want to enter into the spirit of the game. The participants are found among friends or colleagues, artists or volunteers during multidisciplinary residences of creation or art events. In fact, interaction is very important in my approach; the clothes are only the materiality of my corpus of work; the principle meaning develops in the social and interactive activity between participants, themselves and my creations. It is through the realization of networking on a human scale that my art becomes alive, that our perception of the other people is changed. It is a peculiar territory where identities take on another sense, and are transformed little by little.
My work tends to take place in public spaces, so it can be integrated into an installation, a fashion show or a photo shooting. Humour and game spirit are very important elements in my art; it is my perception of the world that I intend to communicate. With these performances, I try to re-invent the world through the eyes of others, a society that seems to me often comic and unusual.
Artistic residencies combine art, travels and passages. They form an integral part of my artistic practice. I propose to the art associations this concept of nomadic stopping place. To be somewhere else, to reinvent my daily life elsewhere, to stroll, to lose myself in cities’ labyrinths, to wait, to meet people, to invite them to take part in my parades or my interventions, all these movements and these gestures are majorly important in my existence, as well as in my artistic approach. Furthermore, the extensive searches which I undertake in order to discover artistic residencies for the production of my projects (and for myself) are essential in my practice and my daily life. Through these journeys and these meetings, I redefine and reinvent my work and my existence. Travels allow me to move forward, to see more clearly, to adapt to new circles. “The semionaute artist puts the shapes in motion, inventing, with them and through them, journeys during which the self is elaborated while a body of work is being created.” (Nicolas Bourriaud in “The Radicant”). In this spirit, the movement, and the journeys I set out for myself through these movements make me a sémionaute who can settle down anywhere without ever feeling at home.