From the very beginning of my artistic practice, I have always worked silently, writing words on bits of paper: words that belonged to my memory, mostly decontextualized, which said nothing exceptional. I have written and accumulated these fragments of everyday memories, keeping them mixed up on my desk, in my drawers, on my kitchen table or bedside table, wherever. I’ve always collected and organized these words, turned them over and over again until they could speak for themselves, speak together. The resulting texts then offered me images, ways of presenting them - and sometimes nothing at all.
Working with these successive layers of memory, the effort to construct clear images from confused impressions, the links between disparate ideas and the loss resulting from oblivion: all these notions then led me to look in the outside world for phenomena recalling these internal processes, at once invisible and silent.
It’s finally through memory that I reached the idea of silence, as my artistic research gradually evolved towards a desire to point out invisible or inaudible processes, such as a need to examine different types of silences or voids to reveal their content. Through various protocols of transcoding, which convoke both the worlds of art and science while maintaining a close connection with the archiving issues, my work attempts to create contact between the perceptible and the imperceptible. This research implicitly raises the subject of flow, which appears as a continuous and autonomous process. My approach therefore consists of turning some of these into language, from which a certain form of narrative emerges.