The research I do are actions and poetic accidents to the materiality and alteration of the given space. This meeting and its appropriation allow us to perceive a series of (in)visible physical changes and somehow get into the layers of the time-space surface. The micro gestures that I propose stem from everyday thoughts, deconstructing an object, knowing its compounds, drawing the structure and seeing the gaps that inhabit the walls. The relationship that I propose with the architecture of spaces, arose from observation and direct work on things and the matter that composes them. In habiting the space and understanding it as a white cube or whatever, but with its own previous narrative, that can be opened and explored. The gesture of breaking, burning, filling and emptying allows the opening of a wall and seeing what circulates inside it, this is why work in different spaces and town is a need.
I met with new paint layers and unknown spaces, which in my opinion, are brief moments between me and that space which is my own for a certain period of time. The home studio thought from an almost sacred laboratory and with the possibility of being perverted. The city moving outside and all its politics are reminders of experimental micro-actions within which each of these stories are developed.
The sculptures, photographs and paintings which I document here use both the material properties and their constraints, as well as their history: wood, metal, glass, concrete, lights, etc. Indeed, their direct relationship with reality, the context and the environment in which I find them; the material and their architectural forms open up a certain imagination and mythology. For example, drawn to a factory tile, an abandoned church undergoing renovation or an old family barn, I do not hide the industrial or craftsmanship of the object and place in order to displace them and give them a second life.
My work never leaves aside the exhibition space. The architecture of which is treated as a practical tool. Nothing is done to offer the work its autonomy, it is presented or hung in the exhibition space where it reveals it other qualities. I sometimes use the photographic medium to retranscribe a form. It becomes a sign with a more or less ornamental status and informs the viewer about the location of a place or an activity. As much as the photographs, sculptures and installations take with them something of the environment in which they were made, nothing must be modified, that is to say, capitalized and all the works are diverted from their initial function of dwellings.
More fundamentally, my work try to envisage the architectural constructions in connection with the construction of the collective representations, it makes reference to the “self-reliance” of the American philosopher Ralph Waldo Emerson and the artist Buckminster Fuller. My territory leans on the collective and individual experiences which take shape in or around these architectures, to react to them, to distort them, to bend them and to make them strangely unstable, to crack them, so digging the envelope of things, to reveal the inside.
With the collaboration of Judicaël Lavrador
Art critic and curator