Statement
My practice is focused on the exploration of images since 1996.
I outline daily life in pictures and video. I superimposed and juxtaposed with various materials
and environmental conditions in a form of installation.
My work is to prepare a place that offers atmospheres using clues-images where
the viewer can walk his gaze on the uncertain border between brightness and darkness,
the physical environment and the immateriality of the image.
The fluid memory that images bears fascinates me.
By appropriating images, mine and those of others, as a first material,
I went traveling into a collective memory perpetually self-generated.
Thus these images bind together and establish a sensorial and personal dialogue with the world.
Imprecise images and latent memory
The vague aspects of blurred images, shaded, stained, and overexposed negative are at the heart
of my first exploration: Passage lumineux (1996), Brume légère (1997),
Série de balancier (Au dessus du Mont-Royal 1998, Pissenlits 1998, Mer 2004),
Nuit blanche (1998), and Wagon détaché (1999), Regards fibreux (2001).
Through a dialogue between the image and the device, these images identify the
most sensitive and most fluid latent memories. The work becomes a process of
remembering fermented in time for gathering endlessly deposits of evaporated memory.
Intimate and collective memory
The second topics covers the exploration intimate space in the community by collecting private images.
This interest began when conducting a series of intervention in 1993:
Logement social and Grand Dessin, in the city of Lyon. Then, in projecting a video of
a subway on a table (Cyclone inert 1997) and vice versa,
with images of hair cut rolling on the naked back in a public booth (Passage nuageux 1997),
I come back to the search of a dialogue between the private and the public.
In 2000, I worked on the project Les Ruelles in a context where private space is influenced by the
changing urban housing. I went to see, capture, transform and enjoy these vacant spaces
and streets punctuated by the private backyards of Montreal. The indeterminacy of these
areas comes from its non-state expressing his vacancy and which are free of any dominant cultural.
A series of photographic installation shows this search: Portraits accroupis (2000),
Géographie de ma famille (2002) and You are here (2001) that
I have developed series of palms (I am here in 2004). Thus, under the same angle,
are developed Zone flottante (2004) and Abris en carton (2004).
The partial images of the body in my installation, such as Mémoire du corps (2003) and
Repos sur les nuages (2004), build a place inhabited by personal sound memories from various individuals.
Thus, the search for an intimate setting where the definition of home do not focus on a geographical
territory remains a key concern in my creation.
