Frequency -1, black monochromatic oil on canvas. At sunset
Frequency -1, black monochromatic oil on canvas
Where are you living?
I am living in Paris, France, but mostly somewhere in my own head.
How old are you ?
Depends on the day.
What inspires you ?
The work itself I would say… What happens in the studio is opening new doors everyday, from there I weave connections between different sources : aestetic books, metaphysic, philosophy, art history, music, cinema, nature, personnal experiences…. I basically use every thing I have ever been drawn to or worked with. There are no limits nore hierarchies in my sourcing.
I never belived in a so-called « inspiration » that comes from out of nowhere and finds you, I belive that work feeds itself and makes me understand more about who I am, what I endend to do and what I am seeking through my art practice.
Tell me about what you do ?
This is a difficult question. What I do is trying to understand what making art is. I, since my phd studies in cinema and art history, have been obsessed with the non-image part of images…
Images dont say anything anymore, they have been distroyed by mascarades and mediatic circuses that prevent the image from any self reflective capacity, exept in some art video and cinematic works, but their backs (their wrong side) is where I chose to position myself .
For exemple, my oil-paint works nerver identify as paintings (tableaux), but as fields or screens. They are the back side of the image we will never see, which in it s impoverishment is not longer relevant whereas what happens in the back of the « abcent image » is the interconnexions of the real flux of economics, power struggles, historical and cultural positionning of what woud source, create and manipulate the per-say inaccessible image. I build on absence really. So the art works sometimes desintegrate into a derivative identification process, from oil paint, to video, to sound composition, to chromatic pictures, or digital concrete compositions… Always purposefully « wrongly made » carrying in their core the “glitchs” and paradox of their own organicity.
Negative Noise-6, black monochrome oil carved on canvas, 162x130cm
What s the structure of a typical day like for you ?
That doesn’t exist. I basically have my art brain working day and night (leading to a lot of insmnias), so I try to grab sleep when I can. I need to be in the studio as much as possible to keep my mind building whatever it s working on keeping the flow going. Most times I volontary avoid the physical work confrontation until it becomes a pressing need I can’t avoid no more. When I make an art piece (painting or else) I work in one session, which is extremely violent and demanding, then I cant get up for two days. I feel totally drained from my energy, and it slowly rebuilds itself within few days and then needs to be drained again and so on, like waves. Making needs to be an absolute necessity.
What are some of your favourite sources for information ?
Books, eastetics and artists notes mostly ! Then when I have a hinch i begin by digging on the internet as much as I can and if the idea seems to lead somewhere I look for the books, exhibition, film, theory or music I have been lead to. Then I dig some more to find the roots I am interested about. And by observing the world around me, always, listening with my eyses very carefully to everything.
How does social media influences your life ?
I am quite addicted to IG and it steals way too much time in my daily life because I am extremely curious. But I wouldn’t say it influences me. I am though very interested about discovering other artists practice, some of them have become close friends. About my feed, i try to keep it very studio oriented and also not showing too much about what I m working on at the moment, which is a new series I want to keep secret until completion.
Phant0m_Black, Poster 170x120cm
Linen canvas and acrylic mounted on wood, 210×90
Gate 140×210, black monochromatic oil on jute, 2019
In Situ #1 Shades of Spaces. Performance created for Venice Biennale of Orchitecture 2018, French PAvillion. Photo by Charity Thomas