Developing my fascination for the representation and understanding of the living and the being, I have developed an aesthetic that is shared between the Arts and Sciences. I am interested in the way the organic is thought and presented, whether it is on the glossy cardboard of an exhibition catalog, in the exhibition itself, in a scientific journal or in classical painting. By questioning the envelope of the living but also its interiority I develop shapes in a multidisciplinary plastic language through installations that mix 3D modeling, sculptures and drawings.
My approach is rooted in a relationship to time and space that summons and brings together these observations of a fantasized nature. Appearing in fragmented and eroded forms, this nature is symbolized by artifacts that tend to narrate the perfect and imperfect sides of things. It questions the way we contemplate the organic, but also the way we treat it.
In a work nourished by references and codes, I conduct my research in a form of scientific objectivity, as defined by Daston and Galison. My approach becomes protocol, as much in the observation as in the production.
Therefore, in my project Noxious Herbarium, I analyze invasive exotic plant species found in Europe. This approach to nature as a case study generates new techniques, new images and in a way transforms the history of nature itself. By developing my interest in digital images, I have built a visual language that reorganizes these species through hybridizations of materials and forms.
In my larger research that I entitled Reemerging Worlds, I seek to make the living cohabit through scenographic devices fed by the imagery that I develop. Using 3D modeling, I fragment and recompose the living in order to transpose it into this virtual world.
All these devices become the archaeology of a nature that oscillates between dream and reality. They tend to make explicit the human gestures and the environment in which they are deployed.