I think painting as a mode of construction.
It is a tool to materialise the dialectic between seeing and touching; doing and knowing. I am not attached to a form but to the conditions of its emergence. I constantly question the materials that constitute the surface, which appears as an epiderm made of historical, tactile and temporal layers.
My work is born from the residues of my production.
In order to avoid any preconception of the result, I destroy the surface. The different on-going series enable me to expand my investigation through multiple devices such as sewing, fiberglass collages, transfer and monotypes…The residues are then assembled generating a surface where are confronted differents modes of application and cut-out gestures. Consequently, the repaired surface operates within a discontinuous chronology, like a map of activity.