Briefly, describe your art practice? My research explores (with)drawing, in varied forms. My work protocol is based on my daily drawing practice, notably making one drawing per day, a small secret drawing in a notebook which I then transform into a further drawing through processes of enlargement, translation and repetition. My drawing has to do with blindness, it has no interest in representing anything seen, but rather echoes the otherness of the world, inside-ness, and ex-centric seeing. My subjects: the ordinary (part-)body, human, animal or other-worldly, altered, twisted or gone wrong; and repetition through growth or patterns, geometric, vegetal or organic.
What inspires you to make art work? “A picture… at the seeing and liking so much of which [she] stopped being sad” (Ali Smith, ‘How to be both’). I draw from my collection of thousands of images (found photos, magazine clippings, images from books or the Internet…), which I have been collecting since my childhood, in an attempt to make this picture.
Explain the basis of your art project for The Bonkers Contemporary Show My project for Bonkers consists in the creation of a long-duration performance-drawing during the exhibition period, based on a red-line drawing I have been working on recently.
For the duration of the exhibition, I will LIVE in a LIVE LINE drawing, comprised of 2 elements: an animated drawing projected on the walls (created beforehand), and a performance-wall-drawing which I create during the show, drawing directly on the walls in reaction to the projected animated drawing. This will create a double image, with 2 different temporalities but which merge, one on top another, the same but different.
The animated drawing to be projected is a red-line drawing, a linear ‘translation’ of my daily diary-drawing protocol, a multi-referenced mix of bits and pieces of bodies gone wrong, architecture and geometric/organic growth patterns, together gradually weaving different stories. The intimate scale of the original drawings is expanded to a monumental format and the bodily gestures involved (energetic scribbling, escapist doodling) correspondingly magnified.
Through this project, I am interested in the way that drawing, even when made in solitude, still comprises a performance aspect to it, especially when it is on this scale and made in this "semi-automatic" way.
Who are your role models artistically? Louise Bourgeois. Outsider artists.
What do you think is your most AMAZING achievement in art today? For me, my decision to concentrate solely on my drawing practice (in October of last year), after years of having kept it as a secret activity despite its importance. This demanded some bravery, but has been empowering and very productive: I have since then created a large body of drawings.
Describe your art in 5 words. Wrong. (With)drawing. Ex-centric. Anatomy. Rhizomic.