<\/p>\n\n\n\n
ENGLISH\/<\/p>\n\n\n\n
My practice gives prominence to light and fluid forms. <\/p>\n\n\n\n
While it once focused on fleeting gestures of appearance in public spaces, it has now evolved through installation, drawing, video, and performance. This exploration is rooted in decolonial and emancipatory thought, questioning the principles of identity and memory through the lens of representational history.<\/p>\n\n\n\n
By engaging with dance, text, and drawing, my work invites us to view the body as an archive to be reinvented, a territory with its own cartography. I am interested in what shapes collective imaginaries and how archetypes defining our relationship with otherness are constructed. Shifting between the realms of post-colonial and feminist studies, cosmology, and esotericism, this work explores alternative spaces of thought. Through this investigation, which operates at the intersection of multiple disciplines, I seek to question more broadly our relationship with the concept of universality.<\/p>\n\n\n\n
My exhibitions are poetic and political environments where human and non-human bodies become points of resilience, creating dialogues between diverse worlds. The relationship between the collective and the individual is central to these environments. The installations are often bathed in coloured light and animated by musical rhythms. Performances take place within them, and nothing remains static.<\/p>\n\n\n\n
I conceive the exhibition space as a place of welcome\u2014for my body, the visitors, and the practices of other artists. I collaborate regularly with musicians, sound artists, performers, and theorists, multiplying the voices that surround my work and broadening how it is received.
Within these environments, I continuously seek to adjust the relationship between the public and my practice, between the exhibition space and the outside world. For instance, the use of spoken word, language, or elements such as curtains, filters, or grids placed over windows play a decisive role: acting as a permeable membrane that may allow or block what is necessary to be seen and heard. As with the body, my work is ultimately concerned with necessity and coexistence. <\/p>\n\n\n\n
FRAN\u00c7AIS\/<\/p>\n\n\n\n
Ma pratique fait la part belle aux formes l\u00e9g\u00e8res.<\/p>\n\n\n\n
Si elle s’est pendant un temps concentr\u00e9e sur des gestes d’apparition furtifs dans l’espace public, aujourd’hui, elle se d\u00e9veloppe \u00e0 travers l\u2019installation, le dessin, la vid\u00e9o et la performance. Cette recherche s\u2019articule autour d\u2019une pens\u00e9e d\u00e9coloniale et \u00e9mancipatoire qui interroge les principes d\u2019identit\u00e9 et de m\u00e9moire \u00e0 travers une histoire des repr\u00e9sentations. En faisant notamment appel \u00e0 la danse, au texte et au dessin, mon travail propose de penser le corps comme une archive \u00e0 r\u00e9inventer, un territoire avec sa cartographie propre.<\/p>\n\n\n\n
Je m\u2019int\u00e9resse \u00e0 ce qui fa\u00e7onne les imaginaires collectifs et \u00e0 la mani\u00e8re dont se construisent les arch\u00e9types qui d\u00e9finissent notre rapport \u00e0 l\u2019alt\u00e9rit\u00e9. Investissant tour \u00e0 tour le champ des \u00e9tudes post-coloniales et f\u00e9ministes, de la cosmologie et de l’\u00e9sot\u00e9risme, ce travail explore diff\u00e9rents espaces de pens\u00e9e alternatifs. \u00c0 travers cette investigation, qui op\u00e8re \u00e0 l’intersection de plusieurs disciplines, je m\u2019attache plus largement \u00e0 remettre en question les relations que nous entretenons avec le principe d\u2019universalit\u00e9.
Mes expositions sont donc \u00e0 penser comme autant d’environnements po\u00e9tiques et politiques o\u00f9 les corps, humains et non-humains, forment des points de r\u00e9silience permettant de faire dialoguer des mondes divers. Les relations collectif-individu sont centrales \u00e0 l\u2019\u00e9laboration de ces environnements.
Les installations que je produis sont souvent baign\u00e9es de lumi\u00e8res color\u00e9es et mises en vibration par des rythmes musicaux. Des performances s\u2019y d\u00e9roulent et les choses n\u2019y sont jamais fixes. Je m\u2019efforce toujours de penser l\u2019espace d\u2019exposition comme un espace d\u2019accueil : pour mon propre corps, celui des visiteur-euse-s, mais aussi pour la pratique d\u2019autres artistes. Je collabore tr\u00e8s r\u00e9guli\u00e8rement avec des musicien-ne-s, des artistes sonores, des performeur-euse-s ou chor\u00e9graphes, ainsi que des activistes et th\u00e9oricien-ne-s. C\u2019est une fa\u00e7on pour moi de multiplier les voix qui entourent mes oeuvres et les canaux par lesquels elles sont appr\u00e9hend\u00e9es.
Au sein de ces environnements, je cherche toujours \u00e0 ajuster les rapports de distance entre le public et ma pratique, entre l\u2019espace d\u2019exposition et le monde ext\u00e9rieur. Par exemple, l\u2019utilisation de la parole, des mots ou encore d\u2019\u00e9l\u00e9ments tels que des rideaux, des filtres ou des grilles appos\u00e9es aux fen\u00eatres y jouent un r\u00f4le d\u00e9terminant : celui d\u2019une membrane perm\u00e9able laissant entrer, ou non, ce qui est n\u00e9cessaire, ce qui sera vu et entendu. Comme dans un corps, dans mon travail, il est avant tout question de n\u00e9cessit\u00e9 et de coexistence.<\/p>\n\n\n\n
<\/p>\n\n\n\n
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