Briefly describe the work you do.
Throughout my series, I build upon the concept of connections that exist between various memories and reality, interlinks between the elements surrounding us, the feelings of life. photographs become organic matter, clay.
Tell us about your background and how that has had an influence on your work and on you as an artist.
I was born in Nice, south of France at the end of the 80’s, I did study philosophy at The University of Provence Aix-Marseille, after graduated I finally stopped university because my studies were taking a lot of time and I needed a break. I traveled across the world, I visited several countries and I settled down six months in Korea while working on my own music. I finally landed in Berlin last year and this is where I started making my own digital composition. I continue to study and work social sciences and philosophy so the question of whether and how my studies affects my artistic work necessarily arises. I think, I use art as a way of fight against my rational side. I like the idea that creation frees me from the need to get an answer to the metaphysical questions I ask myself everyday. Perhaps, you can feel it in my work, like landscapes suspended to eternal questions. I allow myself to leave these questions open, without necessarily seeking answers.
The concept of the artist studio has a broad range of meanings in contemporary practice. Artists may spend much of their time in the actual studio, or they may spend very little time in it. Tell us about your individual studio practice and how it differs from or is the same as traditional notions of “being in the studio.
My actual studio is an industrial studio space in Berlin, It is very minimalistic space for printing and retouching where I usually plan and work on my exhibitions but sometimes I work at my home studio, a library, a coffee shop or a parc. I like to be free and try to create in different places surrounded by different atmospheres .
What roles do you find yourself playing that you may not have envisioned yourself in when you first started making art?
When do you find is the best time to make art? Do you set aside a specific time everyday or do you have to work whenever time allows?
Strangely even though I’m a nocturnal creature, I create mostly in the mourning. I can not explain it. I like this sensation to create something right after waking up, when your mind is still clear.
I don’t have any schedule or timeline for my artistic work, I prefer to let it free.
How has your work changed in the past five years? How is it the same?
In the past five years I have grown in my art practice, even if my art is still very young, things changed radically when I moved to Berlin one and a half year ago. I have tried and use new things inspired by this city in my art.
How have people such as family, friends, writers, philosophers, other artists or even pop icons had an impact on the work you do?
I always go back to reading and listening about artists whose work I admire, that affects me on a personal way. Many of them influence me in subconscious ways, I guess everything around us becomes an influence in some way.
I am a sporadic reader; sometimes I have several books on the go at the same time. I particularly like french literature and analytic philosophy.
Have you ever been pulled in the direction of a pursuit other than being an artist? What are your other interests?
I have not been pulled in other directions. My other interests include philosophy and the physical sciences.
I consider myself a conceptual artist: Everything starts with an idea, and the idea determines the execution. I’m under the strict opinion that art is meant to be consumed. Photography is art, therefore it doesn’t do any good to keep it locked up on a hard drive. Consequently, my work varies in medium, from photography to installation, sculpture and painting. The themes of my work are primarily socio-political, although lately I’ve strayed into the deeply personal.
All images copyright of the artist and used with their permission.